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尽管柏拉图最初使用的理论是深刻的,它变得逐渐严格,不允许文学的积极或建设性的批评。柏拉图的学生和伟大的批评家之一,亚里士多德试图解决的局限性和其僵化的性质。不像他的前任亚里士多德认为艺术是积极的和自然。亚里士多德同样认为,艺术作品(包括文学)效果相同的三个领域柏拉图,但不同的视角。亚里士多德戏剧是一种道德没有差异教学。他认为戏剧创造了这些教义的方式,是通过恐惧和痛苦的融合,这是明显的在希腊悲剧,因为他州他们创造“道德真理”(互联网经档案,1994 a)通过现实和反射的悲剧英雄生活在社会的人。亚里士多德的版本的理论与柏拉图的世界(对象感知),他认为艺术不是最终的,如果他们不能足够准确反映现实,他们失去了信誉,因此失去浸泡接受者的能力,然而,如果艺术吸引了收件人的它有可能揭示一些人性的真理(网络经典存档,1994)。


Although Plato initial use of the theory is insightful, it becomes gradually restrictive, not allowing for positive or constructive criticism of literature. One of Plato’s students and greatest critics, Aristotle attempted to address the limitations and its inflexible nature. Unlike his predecessor Aristotle believed that the arts were positive and natural.Aristotle similarly believed that art (includes literature) effects the same three areas as Plato, but varying with perspective. Aristotle had no discrepancies with drama being a form of moral teaching. He believed that the way drama created these teachings, was through the amalgamation of both fear and pathos, this is apparent in Greek tragedy as he states they create ‘moral truth’ (Internet Classics Archive, 1994a) through the tragic hero being realistic and reflective with people who live in the society.Aristotle’s version of the theory contradicts Plato’s in relation to the world (objects which are perceived), as he believed that the arts are not ultimately deceptive, if they are unable to reflect reality accurately enough, they lose credibility, therefore losing the ability to immerse the recipient, however if the art captivates the addressee’s it has the potential to reveal some truths of human nature (Internet Classics Archive, 1994a).


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