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10 2307@268156
10 2307@268156
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July 1969
HE long and as yet unresolved debate does not seem to be aware of my 1962
T over the real meaningof Aristotle's article, again suggested an intellectual in-
doctrine of catharsis continues vig- terpretation of catharsis.3Other interpreta-
orously today. If ultimate truth has not tions have dominated, without satisfying,
yet been achieved, our understanding, at critical discussions of the issue. Since,
least, of important aesthetic problems has however, an intellectual interpretation of
become sharper as we have debated the catharsis has now appeared independently
merits and flaws of the various interpreta- at least three times in the literature on the
tions of Aristotle's enigmatic doctrine that subject, a further attempt to validate this
have been put forward. interpretation of an important concept
The present paper is a resumption of an seems amply justified.
argument presented in an earlier article in We shall now review the arguments put
which Aristotle's use of catharsis in the forward by Haupt, myself, and Kitto in
Poetics was reinterpreted to mean "intel- defense of an intellectual interpretation of
lectual clarification."' Subsequent to the catharsis. Then we shall argue that certain
writing of that article I found that a ver- uses of the concept of mimesis by Plato and
sion of the intellectual interpretation of Aristotle indicate a relationship between
Aristotelian catharsis had been made by a the two terms and add further support to
German scholar, S. 0. Haupt, in a mono- the intellectual interpretation of catharsis.
graph published in 1915.2 Haupt associated In defense of the intellectual interpreta-
some sound arguments with other rather tion of catharsis, Haupt presented a num-
eccentric ones, and his work, virtually un- ber of arguments which, for the most part,
known today, has had no effect on the lack sufficient rigor to be persuasive. Thus
mainstream of criticism of the Poetics. he argued that by adopting the intellectual
Also, in an article published in 1966, interpretation of catharsis all difficulties
H. D. F. Kitto, who does not mention and with the use of this terimt-inthe Poetics and
1. L. Golden, "Catharsis," TAPA, XCIII (1962), 51-60. ethisch noch "hedonisch" noch therapeutisch ist, sondern
2. S. 0. Haupt, Wirkt die Tragodie auf das Gemut oder den intellektualistich.' Ich habe mich lange gegen Immischs
Verstand oder die Moralitdt der Zuschauer? (Berlin, 1915). Aufassung im 2. Punkt gestraubt, endlich aber die Richtigkeit
Haupt attributes the origin of his own thoughts on this sub- derselben eingesehen und nach langem Studium die Bedeutung
ject to a letter which he received from Professor Otto Immisch. 'Aufkldrung' als die einzig passende gefunden und mit dieser
He writes: "Damals schrieb mir Herr Universitatsprofessor haben sich alle Schwierigkeiten der Poetik, Rhetorik und
Dr. Otto Immisch in Giessen unter dem 10. X. 1907: 'Bislang Politik, die bisnun jeder Erkldrung spotteten, in nichts auf-
glaube ich noch: 1. dass der Passus uber die Katharsis nur gel6st, wie jeder unparteiische Leser im folgenden sehen
infolge einer Polemik gegen Plato der Definition angehangt wird" (p. 18).
ist: das Ipyov (die Wirkung) hat an sich, nach Aristoteles' 3. H. D. F. Kitto, "Catharsis," in The Classical Tradition,
eigenen Satzen uber das Definieren im 6poT o6crIas nichts zu ed. by L. Wallach (Ithaca, N.Y., 1966), pp. 133-47.
suchen; 2. dass die Katharsis in Aristoteles' Sinn weder
145
in the other writings of Aristotle can be involves a learning experience and that the
explained away; that under this interpreta- chief pleasure which man derives from
tion all plays, ancient and modern, trag- mimesis is the pleasure of learning. We
edies and comedies, can be appropriately remember that learning for Aristotle in-
classified; and that the Organon provides volves a movement from the particular to
evidence for this interpretationof catharsis. the universal and that it reaches its climax
Haupt also argued that while ethical, in an insight or inference. That poetry is a
aesthetic and intellectual responses may be learning experience in this sense is con-
evoked in an audience by a work of art, firmed for us in chapter 9 of the Poetics,
only the intellectual responses must be where we are told that poetry is "more sig-
evoked. Finally he saw that the etymolog- nificant"than history because it aims at the
ical relationship between katharsis and universal while history is concerned with
katharos justified the translation of the the particular.
former term as "Aufklarung."4 It is only Aristotle tells us in chapter 14 of the
this final argument that I find sufficiently Poetics that we must not expect every
rigorous and persuasive to use in defense pleasure from tragedy but only that which
of an intellectualinterpretationof catharsis. is appropriate to it. We know, however,
My own argumentfor translatingcathar- that the pleasure of poetry in general con-
sis as "intellectual clarification" was based sists of learning (i.e., of proceeding from
principally on an analysis of the internal the particular to the universal) and so the
structure of Aristotle's own argument in pleasure of tragedy must also consist of
the Poetics. I pointed out, as others have learning. Now in chapters 6 and 14 of the
done, that all elements of the definition of Poetics we are told that tragedy is con-
tragedy except catharsis had been discussed cerned with pleasure that is derived from
by Aristotle in the five chapters of the pity and fear. Since tragedy as a species of
Poetics that precede the formal definition poetry and thus of mimesis must involve
of tragedy. Since the position occupied by learning and since tragedy is specifically
catharsis in the definition of tragedy has associated with pity and fear, it is clear
indicated to most scholars that it represents that tragedy must involve learning about
the climax of the definition and, as such, pity and fear. Thus tragedy must involve
the final cause of tragedy, I suggested that a learning process consisting of a move-
Aristotle would have been guilty of a very ment from the particular to the universal
exceptional and grave fault if he had failed in regard to pitiful and fearful situations
to give any indication of what such an and leading to the clarifying insight or
important term meant. inference which we associate with the
I argued further that we should attempt learning process. This, then, is the goal or
to see if Aristotle gave any indication of end of tragedy as it is defined by Aristotle
what he considered the goal or final cause in the argument of the Poetics outside of
of tragedy to be in the text of the Poetics the formal definition of tragedy.
outside of the definition of tragedy itself. We have seen that catharsis represents
Analysis showed that Aristotle defined all the goal or end of tragedy in the formal
of the varieties of poetry as forms of definition of tragedy in chapter 6 of the
mimesis and that he indicates that the im- Poetics. We must then ask how catharsis
portance of mimesis for man is that it relates to the goal of tragedy which we
4. These positions are taken both in the monograph cited
in n. 2 and in Die Losung der Katharsis Theorie des Aristoteles
(Znaim, 1911).
sheen of eternal radiance may be said to also had a concept of katharsis that in-
pervade all stages of reality. Accordingly, volved the idea of intellectual clarification.
art is not confinedto the limits of its visual The passage which is of fundamental
models. True art does not lapse into flat importance here is Phaedo 67C-D where
realism,but it strivesto transcendthe material
katharsis is used to describe the process of
world; in its poor images it tries to evocate
separation of the soul from the body which
something of that higher realm of being
which also glimmers through phenomenal is the lifelong goal of philosophers and
which is perfectly achieved only at death.
reality.... Art, therefore,has a doubleaspect:
This separation or "purification" of the
in its visible manifestationit is a thing of the
most inferiorvalue, a shadow; yet it has an soul from the body is important to the
indirect relation to the essential nature of philosopher because the body continually
things. The intensityof this relation dependsinterferes with the soul's drive to contem-
upon the degreeto which the artist succeeds plate reality itself. In this passage, then,
in illuminatingthe higheraspectsof the inter-katharsis is the process of separation of
mediate plane, viz. of visual reality. Thus soul from body which has as its essential
imitation, when viewed in the light of a goal the apprehension of true reality. We
hierarchicalconception of reality, may con-
are further informed here that katharsis is
stitutea reconciliationof realismand idealism
in art.10 a source of joy and pleasure to the
philosopher because it serves as the climax
We therefore conclude that for both of his lifelong striving for real knowledge.
Plato and Aristotle artistic mimesis, when I think that it is clear that Plato's use of
pursued properly, is an important learning katharsis here bears a strong relationship
experience which reaches its climax in an to Aristotle's use of katharsisin the Poetics
insight into aspects of reality itself. when that term is rendered as "intellectual
In an earlier paper, which has been cited clarification." In the Phaedo the moment
previously, I have argued that for Aristotle of katharsis is the moment of a sublimely
this insight is representedby the famed but pleasant apprehension of reality just as in
vexed concept of catharsis. Under this the Poetics (under the arguments given
interpretation catharsis, rendered as "in- above) it is a pleasurable learning experi-
tellectual clarification," is seen as the ence in which insights and inferences are
normal climax or end product of the pro- achieved about aspects of reality. In the
cess of imitation. If mimesis is understood passage cited from the Phaedo, katharsis
in a similar way by both Plato and Aris- represents the ultimate clarification of
totle then we should expect that katharsis, reality which could only be partially clari-
if it is indeed related to mimesis, should fied by the imitative process as long as soul
also be understood by them in a similar and body were linked together; in the
way. I have already discussed the reasons Poetics, katharsis, we argue, represents the
for interpreting catharsis in Aristotle's more common and regular learning ex-
Poetics as "intellectual clarification," and perience that climaxes every mimetic pro-
I now wish to cite some important evidence cess, but the two uses are obviously very
from the Phaedo that indicates that Plato closely related.1"
10. W. J. Verdenius, Mimesis: Plato's Doctrine of Artistic Bywater und P. Cauer zu der Behauptung kommen konnten,
Imitation and Its Meaning to Us (Leyden, 1962), pp. 17, 18, 19. das Aristotelische Tvv TCV TOLO&rwV ITaO-q4Ti-Wv KcOapawL sei
11. Haupt, op. cit. (n. 2), indicates that he originally eine unbewusste Reminiszenz an Plato Phaedon 69 b ist mir
interpreted katharsis in the Phaedo as "Aufklarung" but later unverstandlich; denn wie man auch 'die Reinigung derartiger
reversed his judgment on the matter (p. 73, n. 102). H. Otte, 7raO7/,Ua1-a' fassen moge, von einer Trennung der Seele vom
Neue Beitrage zur Aristotelischen Begriffsbestimmung der Leibe ist doch hier keine Spur." I have argued that the
Tragddie (Berlin, 1928), p. 65, writes: "Wie bei dieser Sachiage acceptance of an intellectual interpretation of katharsis