Home » Culture » Aristotle & Super Bowl LI

Notes


Stamp out starving writers, buy their books!


We think you'll find something interesting here. There's lots to choose from. These posts just go on and on, backward through time. If you'd like to know whenever we post something new, you can get a feed from Critical Pages. If you type our address and add /feed/ at the end, that will do it. That's simply criticalpages.com/feed/ and you're on your way.

Aristotle & Super Bowl LI

There are a lot of dramas on TV and no matter how the plot zigs and zags you know how most, or maybe all of them, are going to turn out. The only time that’s not true when you’re watching a sporting event – like, say, Super Bowl Fifty-One. Only an incomplete mind, or a terribly deprived one, fails to engage the drama inherent in any game, and the Super Bowl Fifty-One was certainly dramatic.

Aristotle

Aristotle – Nice sculpture, but nobody knows what he looked like.

Aristotle – I’m thinking of the Greek philosopher born in 385 BC, not “Big Aristotle,” Shaquille O’Neal – had some interesting things to say about the dramas that he and his countrymen saw performed in Greece. The play, Aristotle said, should have one action from start to finish, should occur in one place, and should begin and end in one day.Those happenings on stage, he said, weren’t true actions or events but “imitations of an action.”

Despite this, the spectators, were engaged as if the imitations were actual events – as if the actor on stage were really Oedipus, as if, at the close of the play, he has murdered his father and bedded his mother and now, blood streaming down his face, he has actually put out his own eyes in self-punishment.

Adults have the strange ability to simultaneously know that what they’re witnessing is merely a imitation of an action, and at the same time, says Aristotle, they are moved by genuine pity and terror by what they see. We know what the characters in the drama are scripted to feel, we identify ourselves with them and feel the emotions we’d feel if we were in the little world portrayed on stage. The drama played out in a football game engages us the same way, but it’s greatly heightened by our knowledge that what we witness is not bogus, but is actually happening to the players on the field.

The New England Patriots were favored to win by three points.    Most New Englanders identified with the Patriots, of course, but despite the odds, the rest of the United States poured their emotions into the Atlanta Falcons. To put it bluntly, the Patriots had become the team to hate. Patriots’ quarterback Tom Brady was thirty-nine years old, had already won four Super Bowl games, tying the best performance by any other quarterback in Super Bowl history, but he had also been tainted by a cheating scandal for which he was punished by being sidelined for four games, a staggering penalty. On the other hand, the Falcon’s quarterback, Matt Ryan, at thirty-one, was in charge of a team of comparative youngsters and had just won the Associated Press NFL Most Valuable Player award. Ryan was leading an exceptional team, a team with a very bright future — a future that might arrive with this game. Maybe Brady was the past.

The trajectory of Super Bowl LI had a stunningly dramatic arc. Over 111 million viewers watched the game on TV, caught up in the emotion of a championship game that tied and went into overtime, a first in Super Bowl history. It obeyed the unities of time, place and action, but no spectator felt terror for the losing Falcons or Matt Ryan – pity, perhaps, but not terror. Super Bowl LI wasn’t an Aristotelian drama and nobody noticed. They were too caught up in the action, real action, not an imitation.

More Notes


Plenty of opinions here on Critical Pages, plus a lot of facts, but no alternative facts. Please don't misunderstand, we do like alternative facts -- after all, we're all writers here -- but we prefer the word fiction. It's shorter and everyone understands what we mean when say we're writing fiction.