According to Aristotle, mimesis refers to the way in which different art forms utilize distinct methods of representation and communication to depict varying degrees of moral and ethical conduct to viewers. In tragedy, “noble” or morally upright characters are depicted, while comedy showcases “ignoble” or morally flawed characters. Nevertheless, all forms of mimesis, encompassing tragedy and comedy alike, stem from a fundamental intellectual impulse inherent in every human being.
Art is an imitation of life, but it’s not life. The quality and beauty of art improve when there is a better similarity and connection between art and life. Death Sentence, directed by James Wan and based on the 1975 novel of the same name by Brian Garfield, is a crime-action-drama film. It revolves around Nick Hume, a mild-mannered executive with an ideal life. However, everything changes one horrifying night when he witnesses a brutal attack on his son during a gang initiation ritual.
Transformed by grief, Hume ultimately reaches the unsettling realization that he will go to any extent to protect his family and what belongs to him. Aristotle’s primary emphasis in the Poetics centers around tragedy, although he also provides significant insights on comedy and epic. His initial theoretical assertions regarding the fundamental essence of mimesis should encompass all literary genres (such as tragedy, comedy, and epic) as well as various other forms of mimesis (including music, dance, painting, and sculpture).
The text states that mimesis is a fundamental aspect of human nature and that humans are the most imitative beings. It also suggests that initial learning happens through mimesis and that all humans derive pleasure from it because they find “learning and inference” inherently enjoyable. As the Poetics mainly explores literary mimesis, it is crucial for us to concentrate on Aristotle’s understanding of how this type of mimetic activity leads to the intellectual satisfaction associated with art.
The closer art is to life, the more beautiful it becomes in the eyes of the audience. This can be exemplified by the movie “Death Sentence.” The film introduces us to the Hume family, who initially seem like an ordinary family. Nick Hume is shown driving his son Brendan home after a victorious hockey game. However, their lives take a sinister twist when they stop at a gas station and are confronted by members of a gang. In an effort to prove his worthiness for gang membership, one member mercilessly slashes Brendan’s throat.
Such an event can happen, and it indeed did happen in reality, enticing the reader to be intrigued by the movie and eager to witness what unfolds next, to observe how things will resolve from this point onward. In Auerbach’s “Odysseus’ Scar,” we are introduced to two distinct methods of imitating reality, which encompass two forms of mimesis: Mirroring, signifying the representation and reflection of life. This subsequently establishes a connection between art and perception, between what is visible and what remains unseen. In the film Death Sentence, this concept is exemplified through the character Bones, who unknowingly turns out to be Billy’s father. The revelation of this fact only occurs at the end of the movie, when Bones is tragically shot by his own son.
Despite his actions, it is not apparent that Bones is Billy’s father. The way Bones treats Billy does not indicate any biological connection. Another point to consider is that mimesis imitates life but does not define it. It primarily focuses on the visual aspect and always triggers our instincts. When we engage with a text, our imagination is stimulated and brings forth images and fantasies. This particular form of art, whether visual or conveyed through words, shares the same structure as fantasies and dreams.
Imagination and emotions bring pleasure and delight, especially when it comes to the novel “Death Sentence” being made into a film. The movie adaptation allows readers to better imagine the unfolding events and vividly experience the shooting scenes described in the book.
According to Aristotle, mimesis is an inherent part of human experience that begins in childhood. It is the foundation of our initial learning experiences and brings pleasure to all individuals. This pleasure does not come from the actual object being imitated, as Aristotle explains that we find enjoyment in imitated objects that would normally cause us pain. Instead, the pleasure derived from mimesis is related to learning and inference, which philosophers find particularly enjoyable, but others enjoy to a lesser extent. Aristotle further emphasizes the cognitive aspect of mimesis by attributing a philosophical dimension to poetry, as it can express universal concepts rather than specific ones. In chapter 14, Aristotle states that it is essential for poets to elicit pleasure through mimesis by evoking feelings of pity and fear. This once again highlights the cognitive function of mimesis, as its fundamental pleasure lies in learning and inference. Aristotle examines both the artist’s perspective, how the artwork affects them, and the spectator’s role as the receiver.
For the artist, the act of sharing their artwork brings pleasure, as pleasure is an essential component of representation. Art has a dual impact on the recipient, consisting of two aspects.
- Learning – art can teach, it has an educative, didactic value. The recipient can gain information and an ability to criticize (realistic theater teaches what’s going on in the world so the viewer can go out and change it).
- Pleasure – art is enjoyable, has a pleasurable way of presenting things (un-aesthetic – un-sense – putting the senses to sleep – art has sensual effects).
According to Aristotle, art reflects not what is, but what could be. It portrays our desires and the outcomes we hope for. This idea is effectively depicted in the film Death Sentence. Near the conclusion of the movie, Nick Hume seeks revenge on Billy Darley and his gang, who had murdered his wife and injured his son Lucas. Lucas is everything Nick has left, and after losing everyone else, Nick feels compelled to take action. Nick tracks down the gang members at The Office and a shootout ensues. Nick manages to kill several gang members and ultimately succeeds in shooting Billy, resulting in his death. In the end, Nick achieves payback for his family.
In actuality, justice is not consistently delivered as it ought to be. Frequently, a perpetrator who has caused someone’s death either manages to escape arrest or there is inadequate proof to detain them. Nonetheless, in the film Death Sentence, we observe Nick Hume taking matters into his own hands to guarantee that justice is served. In reality, this may not have happened and the case might have been overlooked over time. Nevertheless, as art reflects our aspirations, we witness the way things should ideally progress according to our desires.
The characters in Death Sentence are easily recognizable and relatable within our own reality, as Auerbach suggests, ” it ensnares us, weaving its web around us” (13). These characters are mimetic and can be found anywhere, such as the grieving father, the gang lord, or the golden boy. They serve as symbols that tap into the common needs and desires of human nature, capable of imitating anyone who exists in reality.
The realism of a story’s characters and events can captivate readers by bringing the story closer to reality. This sense of realism adds suspense to the plot, making it more believable and enjoyable for readers. It provides satisfaction in knowing that these events and characters could potentially occur in real life.
Based on Aristotle’s viewpoint, art is a reflection of the tangible world, perceived as reality. As our existence is regarded as a replica of an ideal realm, literature mirrors life. This implies that art becomes an imitation of an imitation or a mere semblance. Consequently, it is rational to regard “Death Sentence” as a simulation since it embodies an artificial representation of reality.
