This blog is given by the head of the department of English(MKBU), prof. And Dr.Dilip Baradsir. Here is the link of the research article: Click here
Video on Aristotle's Reply to Plato's Charges on YouTube/DoE-MKBU: Click here.
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 was one of the greatest philosophers in history. He was one of the greatest disciple of socrates. Plato had strong views against the freedom of expression and artistic liberty enjoyed by creative writers. In his work, "The Republic", he described strict censorship on the arts. According to plato, poetry and other creative works could harm society by promoting falsehoods and undesirable emotions. While some people might agree with Plato's objection, other believe that freedom in art is important for growing society. Here, we will look at Plato's objections and give examples of works thay could be banned based on Plato's views.
In Plato work, "The Republic", plato says that poets misguide people and they provoke evil ideas in people's mind.
Plato was also against how artistic works can strongly affect people's emotions, arguing that :
⚫️ Emotional Influence :
- Disrupting rational thinking : Emotions like pity , fear and desire can disrupt judgements and lead people away from virtuous behavior. Emotions like pity and fear can lead people to irrational decisions.
- Undermining virtuous behavior : By appealing to emotions, art can distract individuals from rational thinking and virtuous living.
⚫️Plato's point of view :
- Rational society : plato envisioned a society governed by reason where individuals prioritize wisdom and virtue.
- Fear of emotional manipulation: plato feared that emotional appeal of art would undermine this rational order, leading to chaos and disorder.
To understand Plato's objections in today's world, we can find at modern form of media that he might be considered as harmful. For example, many novels, TV shows and movies depict violence, unrealistic portrayals of life as well as immoral behavior which influence the audience in the wrong way.
▪️Film: Satyam Shivam Sundaram (1978)
- Director: Raj Kapoor
⚫️Plato’s Objections to Satyam Shivam Sundaram:
1. Sensual Appeal and Erotic Imagery:
The film contains strong erotic undertones and sensuous portrayal of the female lead (played by Zeenat Aman). The camera often lingers on her body, emphasizing physical beauty and desire.
This appeals to the senses and emotions, rather than to reason and moral development.
Plato feared such representations stimulate base desires and distract the soul from the pursuit of truth and virtue.
Plato’s View: Art should purify the soul, not excite bodily pleasures or stir irrational passions.
2. Glorification of Physical Beauty :
Although the title suggests a spiritual message ("Truth, Godliness, Beauty"), the film contradicts this by focusing heavily on physical beauty vs disfigurement.
The male protagonist initially rejects the heroine due to her facial scar, despite her inner beauty and spiritual depth.
The story ends with the man "learning a lesson," but Plato would argue that the film visually reinforces the power of outer beauty, even while pretending to challenge it.
Plato’s View: True beauty is the beauty of the soul and intellect. Art that focuses on the body misleads people into worshipping appearance over truth.
3. Emotional Excess and Romantic Idealism :
The film indulges in emotional melodrama and idealized romance, which Plato saw as dangerous.
Characters are driven by intense love, shame, guilt, and transformation.
Such strong emotional portrayals disturb rational thinking and set unrealistic standards for love and relationships.
Plato’s View: Art should train the emotions in the service of reason, not let them run wild.
4. Illusion and Mimesis :
Plato argued that art is a copy of a copy — far removed from the truth. In Satyam Shivam Sundaram, the message of the title is deeply spiritual, but the execution relies heavily on visual spectacle, music, and physicality.
The external beauty of the film overshadows its supposed philosophical message.
It presents an illusion of spirituality, rather than encouraging real philosophical reflection.
Plato’s View: Artists imitate appearances, not reality. Films like this mislead the soul by masking superficiality as truth.
Plato would argue that this film:
Stimulates desire through sensual visuals
Distracts from true beauty, which lies in the soul
Manipulates emotions through romantic melodrama
Promotes illusion rather than genuine philosophical insight
Hence, despite its title, Satyam Shivam Sundaram would likely be banned or censored in Plato’s ideal Republic, because it pretends to convey truth but actually reinforces dangerous illusions through sensual and emotional appeal.
⚫️ About the Play: A Doll’s House by Henrik Ibsen (1879)
- Main Character: Nora Helmer
- Plot Summary:
Nora, a seemingly happy housewife, secretly took a loan to save her husband Torvald’s life. As the truth emerges, Torvald's reaction reveals his selfishness. In the end, Nora decides to leave her husband and children to find independence and discover her true self.
⚫️Plato’s Objections to A Doll’s House:
1. Destabilizing the Family Structure :
Plato believed that a well-ordered society depends on harmony within the family and obedience to societal roles.
In the play, Nora abandons her husband and children in pursuit of her own identity and freedom.
This act challenges traditional family roles and the institution of marriage.
Plato’s View: Art should reinforce social harmony. Nora’s rebellion could be seen as undermining moral and social order.
2. Encouraging Individualism Over Duty :
Nora's decision to leave is based on personal growth and self-discovery, placing the individual above the community.
Plato believed that individuals must serve the greater good of society.
Nora’s action promotes autonomy at the cost of duty, which Plato would consider dangerous.
Plato’s View: Art that promotes personal desire over social responsibility leads to disharmony and should be censored.
3. Emotional Provocation and Sympathy for Rebellion :
The play makes the audience feel deeply for Nora, leading them to sympathize with her decision to leave.
This emotional manipulation, Plato feared, could inspire real-world disobedience and weaken rational judgment.
Instead of promoting calm, moral reflection, the play excites feelings of injustice and rebellion.
Plato’s View: Art that stirs emotions at the expense of reason can misguide the soul and society.
4. Questioning Traditional Moral Values :
A Doll’s House challenges 19th-century values regarding gender roles, morality, and duty.
Plato would argue that such questioning, especially through emotionally charged storytelling, confuses people’s understanding of right and wrong.
Plato’s View: Art must teach clear moral values. When art questions or redefines those values, it risks moral confusion.
From Plato’s perspective, A Doll’s House would be objectionable and possibly banned in his ideal Republic because:
It encourages rebellion against the family structure
It places individual emotion over societal duty
It uses emotional storytelling to justify moral disobedience
It challenges accepted truths, creating instability in moral education
Plato believed art should support truth, reason, and virtue, not challenge or unsettle them. Although A Doll’s House is celebrated today for its progressive message, in Plato’s world, it would be seen as a threat to the moral and social fabric of society.
Q.-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:
During my B.A. program, several literary texts clearly reflected the Aristotelian literary tradition, especially in terms of tragedy, catharsis, and the tragic hero with hamartia. Aristotle, in his Poetics, defined tragedy as a serious and complete action that evokes pity and fear, leading to the catharsis (emotional purification) of the audience. He emphasized the presence of a tragic hero—a noble character who falls due to a hamartia (tragic flaw or error in judgment)
Shakespeare’s Macbeth and the Aristotelian Literary Tradition
Shakespeare’s Macbeth is widely regarded as a strong example of a tragedy that aligns with Aristotle’s principles, as outlined in his Poetics. The play demonstrates several key Aristotelian elements, such as the tragic hero, hamartia, catharsis, and unity of action.
1. Tragic Hero :
According to Aristotle, a tragic hero must be:
Noble or of high status,
Morally good but flawed,
Capable of evoking pity and fear.
Macbeth fits this model:
He begins as a brave and honorable Scottish general, respected by the king and admired by his peers.
His downfall does not come from outright evil but from a tragic flaw (hamartia)—his overwhelming ambition.
2. Hamartia (Tragic Flaw) :
Macbeth’s hamartia is his ambition and susceptibility to influence, especially by the witches’ prophecy and Lady Macbeth.
His desire to become king drives him to murder Duncan, which sets off a chain of violent and destructive actions.
Though he has moments of doubt and conscience, he chooses the path of power at the cost of morality.
3. Catharsis (Emotional Purification) :
The play evokes pity for Macbeth, who once had greatness and promise, and fear as we witness how power corrupts and destroys him.
The audience experiences catharsis as they are emotionally cleansed through watching his tragic fall and the terrible consequences of his choices.
4. Unity of Action :
Aristotle preferred a single, unified plot without subplots.
Macbeth largely follows this: the central action revolves around Macbeth’s rise and fall.
Every event is connected to his moral decline, from the murder of Duncan to his final defeat.
Shakespeare’s Macbeth strongly reflects the Aristotelian model of tragedy:
It presents a noble hero with a tragic flaw,
Triggers pity and fear,
Maintains a coherent plot,
And leads the audience through a journey of moral insight and emotional purification (catharsis).
Though Shakespeare adapted the form to suit Elizabethan tastes (e.g., using soliloquies, supernatural elements), Macbeth remains a powerful example of classical tragedy in line with Aristotle’s vision.
2. Hamlet by William Shakespeare :
Tragic Hero: Prince Hamlet, intellectual and noble.
Hamartia: His indecision and overthinking delay revenge and cause unnecessary deaths.
Catharsis: The play ends in tragic death, invoking pity and fear for Hamlet’s wasted potential.
Why it fits: Unity of action (revenge for his father's death), emotional depth, and a noble fall.
In conclusion, while not all these texts strictly follow Aristotelian traditions, many incorporate his ideas of tragedy, catharsis, and the tragic hero in various ways, enriching their narratives and emotional impact.
Q.-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. Waiting for Godot by Samuel Beckett :
Why it's non-Aristotelian: This absurdist play lacks a traditional plot, clear resolution, or a tragic hero.
The characters do not undergo any transformation, and there is no catharsis in the Aristotelian sense.
The play emphasizes meaninglessness and uncertainty, going against Aristotle’s idea of a unified and purposeful action.
2. The Waste Land by T.S. Eliot :
Why it's non-Aristotelian: This modernist poem rejects linear narrative and emotional clarity.
It fragments voices, times, and locations, offering no central tragic figure or unified emotional experience.
Instead of catharsis, it leaves the reader in spiritual confusion and intellectual contemplation.
3. The Metamorphosis by Franz Kafka :
Why it's non-Aristotelian: This novella follows absurd and surreal logic, where Gregor Samsa’s transformation into an insect is never explained.
There is no clear hamartia, no noble status, and no traditional emotional resolution.
The work ends in alienation and despair, without Aristotelian catharsis.
4. 'Pygmalion' by George Bernard Shaw:
This play is a social commentary and comedy, focusing on themes of transformation and class rather than tragic elements and catharsis.
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.
Q.-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 tragedies that follow the classical model of tragic structure, particularly as defined by Aristotle. These tragedies featured tragic protagonists—noble characters who suffer a downfall due to a hamartia (a fatal flaw or error in judgment).
1. Macbeth by William Shakespeare :
- Tragic Protagonist: Macbeth, a Scottish general.
- Hamartia: Unchecked ambition and susceptibility to influence (especially from Lady Macbeth and the witches).
His desire for power drives him to murder, leading to his eventual downfall and death.
2. Hamlet by William Shakespeare :
- Tragic Protagonist: Prince Hamlet of Denmark.
- Hamartia: Overthinking and indecisiveness.
His hesitation to avenge his father’s murder causes a chain of tragic events, including his own death.
3.Doctor Faustus by Christopher Marlowe:
- Tragic Protagonist: Dr. Faustus, a learned scholar.
- Hamartia: Overreaching ambition and greed for forbidden knowledge.
He sells his soul to the devil in exchange for magical powers, which leads to eternal damnation.
In all these tragedies, the protagonists begin as noble and admirable figures, but their hamartia leads to their downfall and the audience experiences pity and fear, fulfilling the Aristotelian idea of catharsis. These tragic characters serve as powerful examples of how human flaws can lead to irreversible consequences.
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 of the tragedies I studied during my B.A. program closely followed the rules and regulations proposed by Aristotle in his Poetics. Aristotle emphasized that a tragedy must have a complete and unified plot, based on the principle of cause and effect, and structured with logical probability and necessity. Most of the classical tragedies reflect these principles effectively.
⚫️Macbeth by William Shakespeare :
- Unity of Action: The central plot revolves around Macbeth's rise and fall; there are no unrelated subplots.
- Cause and Effect: Macbeth’s actions (influenced by the witches and Lady Macbeth) cause a chain of murders and his downfall.
- Probability and Necessity: The tragic arc is believable within the play’s supernatural framework.
- Magnitude: The events are serious, emotionally significant, and universal in theme.
Macbeth adheres to most Aristotelian principles, though it includes some non-Aristotelian elements like supernatural forces.
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 Kerala Story (2023), directed by Sudipto Sen, emerged as one of the most controversial films in contemporary Indian cinema. Promoted as a “true story,” the film portrays the alleged radicalization of Hindu women from Kerala who are converted to Islam and recruited by the Islamic State (ISIS). With its emotionally charged narrative and disputed claims, the film stirred intense public debate, political criticism, and legal scrutiny.
To understand the deeper implications of this controversy, it is useful to examine the film through the philosophical lens of Plato, who viewed art with skepticism, particularly for its potential to mislead, provoke emotions, and disrupt the moral and social order of the state.
- Overview of the Controversy :
Claimed Facts: The trailer claimed that over 32,000 women from Kerala were radicalized and trafficked—a figure widely challenged by journalists, politicians, and fact-checkers.
Reception: While supporters praised the film as revealing hidden truths, critics condemned it for promoting Islamophobia, distorting Kerala’s social fabric, and fostering communal tensions.
Official Response:
The film was banned in West Bengal, and showings were limited in Tamil Nadu.
Legal petitions were filed to stop its screening or force changes to the content.
The filmmakers removed the “32,000” claim from the trailer after criticism.
⚫️Plato’s Objections to Art (Key Concepts):
In The Republic, Plato outlined several objections to artistic freedom:
1. Mimesis (Imitation): Art is a copy of a copy—an illusion that distances people from the truth.
2. Emotional Manipulation: Art appeals to the irrational parts of the soul and can arouse harmful emotions.
3. Moral Corruption: By glorifying certain behaviors or evoking base emotions, art can weaken virtue.
4. Threat to Social Order: Art has the power to undermine civic unity and question accepted moral values.
5. Unfit for Youth and Citizens: Plato believed art could corrupt the minds of impressionable audiences.
⚫️Application of Plato’s Objections to The Kerala Story :
Plato’s Objection How It Applies to The Kerala Story
- Imitation of Reality: The film presents disputed and exaggerated statistics (like the 32,000 claim), creating a distorted version of reality, aligning with Plato’s idea of art as deceptive imitation.
- Appeals to Emotion Over Reason: The narrative stirs fear, anger, and suspicion, especially toward the Muslim community, overriding rational judgment.
- Moral Misguidance: The film may lead viewers to form biased or prejudiced opinions, which can harm their ethical understanding.
- Disruption of Social Harmony: The film led to communal tension, protests, and a ban in West Bengal—precisely what Plato feared from emotionally volatile art.
- Danger to the Youth and Society: Plato warned that art could corrupt the minds of citizens. Here, young viewers may internalize polarizing ideologies rather than critical, balanced perspectives.
⚫️Critical Reflection:
While The Kerala Story claims to raise awareness of serious issues like terrorism and radicalization, its lack of factual integrity and emotional manipulation make it a problematic work when judged through Plato’s standards. Plato would argue that such a film undermines the moral education of citizens and threatens political and social stability.
However, in a modern democratic context, freedom of expression is a constitutional right. Unlike Plato’s ideal state, where censorship is justified to preserve harmony, contemporary societies must strike a balance between artistic liberty and social responsibility. The challenge lies in protecting free expression while avoiding the promotion of misinformation and prejudice.
- My stance :
I believe The Kerala Story raises important issues, but it presents them in a way that can mislead people. The film uses exaggerated claims, like 32,000 conversions, without enough proof. This can create fear and misunderstanding between communities.
While I support freedom of expression, I think films should be responsible, especially when dealing with sensitive topics. Instead of banning the film, people should be encouraged to think critically, check facts, and discuss issues openly. That way, we can protect both artistic freedom and social harmony.
Conclusion :
The Kerala Story vividly illustrates Plato’s age-old objections to artistic freedom. Its controversial content, emotional provocation, and public backlash demonstrate how art can influence public thought and disrupt social cohesion. While Plato would have argued for its restriction or censorship, a modern critical approach calls for contextual understanding, media literacy, and open dialogue—rather than outright suppression.
References:
1. Barad, Dilip. “Aristotle’s Poetics.” Research Gate, Aug. 2023. Research Gate,
2. “Plato’s Aesthetics.” Stanford Encyclopedia of Philosophy, plato.stanford.edu/entries/plato-aesthetics/
3. Satyam shivam Sundaram: directed and produced by Raj kapoor.
4. The kerala story(2023) : directed by sudipto sen
Thank you!!
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