Imitation of events from life in the form of various types of art is a natural activity for human beings. Poetry, as one of the most emotional types of art, is closely connected with the depiction of real events and people, emphasizing certain aspects depending on the purpose of creation. Aristotle, in his Poetics, argues that different types of poetry and some types of music have different concepts as their objects (Aristotle). The clearest contrast is between tragedy and comedy, which, although they use the same patterns of structure and plot, differ significantly in their aims. In particular, tragedy is about mythical characters who go through fear and pain, while comedic characters are about ordinary people whose problems are ridiculous. Socrates from the Golden Ass is a good example of an inferior person involved in comic actions since his story does not contain pathos, and his mischief does not bring pain and fear.
Aristotle, in his essay, defines poetry, its various types and also describes its components. The philosopher emphasizes that although such types of poetry as epic poetry, tragedy, comedy, and dithyrambic poetry are different “modes of imitation” (Aristotle). However, they differ depending on the medium, the object, and the mode, which constitutes their distinct features. The medium is associated with a type of art and uses language, rhythm, or melody together or separately for the imitation. The objects of imitation can be events, people, animals, things, or phenomena that are represented in poetry. The mode is a way of simulating an object, such as a narrative or an actor’s performance on a stage. Imitation is a natural activity for people, and viewers find pleasure in it, recognizing and understanding familiar images that can be found in the real world.
Objects can differ in moral characteristics, in particular, be good or bad. In other words, the object imitation can be attributed to either superior or inferior actions (Kitano 4). Aristotle explains that poetry must imitate objects either as they are, as they are perceived, or as they should be (Aristotle). According to the philosopher, “Since the objects of imitation are men in action, and these men must be either of a higher or a lower type” (Aristotle). Whereas tragedy and epic poetry depict noble characters, comedy is about lower or inferior types. The comic character does not depict inferior types as not in the full sense of the word bad but as “ludicrous being merely a subdivision of the ugly” (Aristotle). Thus, in contrast to tragedy, which reflects superior characters and actions, the object of comedy is ridiculous. Kitano explains that the objects of tragedy are mythical and heroic characters, while comedy contains the image of ordinary people (3). Whereas tragedy must contain the description of pity and fear, which makes it superior, the object of comedy is a mistake that is not destructive or painful.
Even though tragedy and comedy differ in terms of subject matter, they follow similar plot patterns that reveal a character’s path. At the same time, the plot of a tragedy develops due to a fearful and painful mistake, whereas in comedy, the mistake is made by the character himself and does not bring pain or fear (Kitano 5). Thus, tragedy and comedy focus on the error, which becomes the center of the plot development. However, the superior errors that the tragedy uses are serious and contain pathos. Inferior errors in the comedy, on the contrary, are “not serious and without pathos” (Kitano 5). Thus, the absence of pathos is a feature that determines the inferiority of the objects imitated in comedy. Additionally, both tragedy and comedy are based on a plot that contains a character’s mischief without its timely recognition; after that comes awareness, and the character either gets punishment or avoids it. In comedy, mischief is ridiculous and does not contain pathos, which makes it inferior (Kitano 5). A comedic mistake does not bring destruction and pain, not appealing to the serious and ethically related emotions of the viewer.
The Socrates represented in The Golden Ass is an example of the inferior actions that make up the comic plot. From the very beginning of the story of Socrates, the reader understands that the events described are of a comic nature. First of all, as noted, the main difference between comedy and tragedy is the de Socrates states, “It was only because I went in search of a bit of pleasure, to see a gladiatorial show I had heard a lot about, that I got into this dreadful mess” (Apuleius 4). These events do not refer to heroic and mythical circumstances but describe the ordinary events in which the character found himself.
As the story progresses, the reader realizes that Socrates’ pitiful position in which he was found was the result of his own error, which is a typical feature of comedy. In particular, Socrates explains that he was first robbed by bandits and then gave all his belongings to the owner of the inn with whom he shared a bed after unfortunate events (Apuleius 4). Aristomenes notes that the cause of Socrates’ misfortune is “preferring the pleasure of fornicating with a leathery old hag to your home and children” (Apuleius 4). Thus, the character is an example of inferior actions that come from the mistake of the person himself, which is the object of comedy. Socrates is subject to the vices of ordinary people, which ultimately leads him to ridiculous consequences that do not contain pain or fear.
Socrates tells Aristomenes the story that the woman he shared a bed with is an ugly witch who turns her ex-lovers into various animals. Although Aristomenes does not believe Socrates’ story, he becomes frightened and, at night, barricades the door to the room where they rested (Apuleius 4). At night, the witch comes to Socrates and Aristomenes; she drains the blood of Socrates and rips out his heart, replacing it with a sponge, after which she urinates on Aristomenes and leaves. Feeling a sense of fear that Aristomenes will be accused of killing Socrates, he tries to hang himself, but because of the rotten rope, he does not succeed. In the morning, Socrates awakens as if nothing had happened, and the friends continue on their way. However, on the way, Socrates and Aristomenes come across a spring from which Socrates drinks. The sponge put in the place of his heart falls out, and he dies.
Thus, the story of Socrates is an example of a comic plot that follows all the canons and depicts Socrates as a person performing inferior actions. As Kitano emphasizes, comedy should follow the traditional structure with a beginning, middle, and end that is presented in the story (4). In the end, the character either avoids punishment or receives it due to the late realization of what he did. Socrates, in this connection, committed mischief in relation to the witch, which characterizes him as an inferior person. His actions come from his own vices and give rise to a mistake, which becomes the cause of events. This element is the main one that distinguishes a comic plot from a tragic one.
Finally, the main condition that distinguishes comedy is the absence of pain and fear associated with the central problem caused by the inferior character’s mischief. Socrates, as a character, did not experience any unpleasant emotions associated with what happened at night. He is sure that replacing the heart with a sponge is just a dream that he dreamed (Apuleius 8). In the end, Socrates also suddenly dies without experiencing emotional and physical pain. This aspect is relevant to Aristomenes; although he had to flee the country, he escaped the potential punishment for Socrates’ death. Aristomenes notes that “And now I have remarried and live in Aetolia” (Apuleius 10). Thus, the mischief of Socrates is not associated with emotional upheavals and the transformation of heroes who overcome the trials of fate through pain and fear.
As an inferior person depicted in the comedy, Socrates makes a mistake because of his own vices and inclinations, which in the end does not bring pain and fear. In contrast to tragedy, where the character would have to confront a witch in order to save his life, the events associated with this character are comical. Although Aristomenes is nervous about what is happening, he easily survives this episode by burying Socrates and continuing on his way (Apuleius 10). This aspect is the main determinant of Socrates as inferior since his life, death, and the events that happen to him do not affect anything except his own life. As Pico della Mirandola suggested, the human being is free to create his own destiny and create himself, which Socrates did through his mischief (Mirandola). As an ordinary person, the depravity and licentiousness of a character define him as inferior, which does not contain pathos appealing to the audience.
Socrates does not experience pain and fear and does not overcome heroic obstacles. Instead, he falls into a trap due to his own mischief, the consequences of which he cannot avoid. Apuleius invites the viewer to take the character’s problems lightly, constantly appealing to comic events, such as Aristomenes’ unsuccessful attempt to hang himself (Apuleius 6). The acts of Socrates are so irrelevant that they are incapable of bringing death or suffering. As ordinary people do not affect the course of the world order or the lives of people around, so the inferior comic character finds himself in a limited situation relating exclusively to himself. Moreover, the story that happened to Socrates is so unrealistic that the viewer simply cannot relate to it, which eliminates the pathos completely. It is ridiculous in its essence, which brings to the fore precisely the moral ugly of Socrates as an inferior character. This ugliness is a comic foundation, which is the cause of the misfortune and death of the hero of the story.
Socrates of the Golden Ass is a classic example of a comic character, as he has traits of an inferior person. In particular, he makes a mistake, which becomes the cause of all the unfortunate events that happen to him. The mistake made is the result of Socrates’ depravity and licentiousness, which describes him as an ordinary person. Finally, he does not escape punishment for his mistake because he simply does not realize it. However, the events of this story do not bring pain and fear to anyone. They have no meaning to anyone but Socrates himself. These aspects make Socrates an excellent example of an inferior person involved in a classic comic act.
Works Cited
Apuleius. The Golden Ass or Metamorphoses. Penguin Books, 2004.
Aristotle. “Essay on Poetic Theory from Poetics.”Poetry Foundation, Web.
Kitano, Masahiro. “Aristotle’s Theory of Comedy.” Bulletin of Gunma Prefectural Women’s University, 22, 2001, pp. 193-201.
Mirandola, Pico. “Oration on the Dignity of the Human Being.”Panarchy, 1486, Web.