“After God made the world, He began to make His rose, but, left it undone for His Man to finish so he can present it to the Woman he loves.”
Man and woman kind have made many species of the rose, but, is there an archetypal rose?
Above we see the beautiful women of Philip Boileau “The painter of fair women”. He is my kin, he the son of Susan Benton and Baron Boileau. Next to Boileau’s women, are the women of the artist Sara Moon, who is a man who mimicked the rosy images of my late sister, Christine Rosamond Benton. Sara’s woman with scarf looks like my mother, Rosemary Rosamond, who is kin to Baron Boileau who owned a fabulous art collection that was gather in the wake of Napoleon’s conquests. Rosemary’s son-in-law is Garth Benton, a muralist and cousin to the artist, Thomas Hart Benton. Is Rosemary the archetypal rose? No! But, her mother, Mary Magdalene Rosamond, is! You can not own a more archetypal rose name, other then Mary Rose of the World ‘Mother of God and Lord Jesus Creator of the World and Universe’!
One can conclude God made Mary perfect so He could come to earth and be a mortal – for just a little while! Because we mortals did not recognize Jesus as an immortal, we tortured God and put a wreath of thorns upon His head, and thus He is sometimes called ‘The Rose of Sharon’.
Having a blueprint of perfection, all of humanity is bid to BE LIKE JESUS, but too much like Jesus! There can only be ONE JESUS! All imitators will be tied to a stake and burned alive! NO MIMES – PLEASE!
I know the Torah says we were made in God’s image, but, as long as we got that nasty junk hanging between our legs, we are doomed to be Ugly Sinners till the day we parish.
Sara Moon has beaten God at His own game. Even though he owns a trouser snake, he smells like a rose! He did not live the torturous life my sister CHRISTine ROSE of the World did, because he is not culpable. She paved his way.
The Philosophical Position
Anti-mimesis is a philosophical position that holds the direct opposite of mimesis. Its most notable proponent is Oscar Wilde, who held in his 1889 essay The Decay of Lying that “Life imitates Art far more than Art imitates Life”. In the essay, written as a Platonic dialogue, Wilde holds that such anti-mimesis “results not merely from Life’s imitative instinct, but from the fact that the self-conscious aim of Life is to find expression, and that Art offers it certain beautiful forms through which it may realise that energy.”.
Wilde’s antimimetic philosophy has had influence on later writers, including Brian Friel. McGrath places it in a tradition of Irish writing, including Wilde and writers such as Synge and Joyce that “elevate[s] blarney (in the form of linguistic idealism) to aesthetic and philosophical distinction”, noting that Terry Eagleton observes an even longer tradition that stretches “as far back in Irish thought as the ninth-century theology of John Scottus Eriugena” and “the fantastic hyperbole of the ancient sagas”. Wilde’s antimimetic idealism, specifically, McGrath describes to be part of the late nineteenth century debate between Romanticism and Realism.
Antimimesis, as set out by Wilde in Decay of Lying is the reverse of the Aristotelian principle of mimesis. Far from art imitating life, as mimesis would hold, Wilde holds that art sets the aesthetic principles by which people perceive life. What is found in life and nature is not what is really there, but is that which artists have taught people to find there, through art. Wilde presents the fogs of London as an example, arguing that although “there may have been fogs for centuries in London”, people have only “seen” the “wonderful brown fogs that come creeping down our streets, blurring the gas lamps and turning houses into shadows” because “poets and painters have taught [people] the loveliness of such effects”. “They did not exist”, asserts Wilde, “till Art had invented them.”.
Halliwell asserts that “far from constituting the ne plus ultra of antimimeticism”, the notion that life imitates art actually derives from classical notions that can be traced as far back as the writings of Aristophanes of Byzantium, and does not negate mimesis but rather “displace[s] its purpose onto the artlike fashioning of life itself”. Halliwell draws a parallel between Wilde’s philosophy and Aristophanes’ famous question about the comedies written by Menander: “O Menander and Life! Which of you took the other as your model?”, noting, however, that Aristophanes was a pre-cursor to Wilde, and not necessarily espousing the positions that Wilde was later to propound.
George Bernard Shaw agreed with Wilde. In his preface to Three Plays he wrote “I have noticed that when a certain type of feature appears in painting and is admired as beautiful, it presently becomes common in nature; so that the Beatrices and Francescas in the picture galleries of one generation come to life as the parlor-maids and waitresses of the next.”. He stated that he created the aristocratic characters in Cashel Byron’s Profession as more priggish than real aristocrats because at the time of writing he had yet to discover that “what [he] supposed to be the real world does not exist, and that men and women are made by their own fancies in the image of the imaginary creatures in [his] youthful fictions, only much stupider”. Shaw, however, disagreed with Wilde on some points. He considered most attempts by life to imitate art to be reprehensible, in part because the art that people generally chose to imitate was idealistic and romanticized.
Mimesis (Ancient Greek: μίμησις (mīmēsis), from μιμεῖσθαι (mīmeisthai), “to imitate,” from μῖμος (mimos), “imitator, actor”) is a critical and philosophical term that carries a wide range of meanings, which include imitation, representation, mimicry, imitatio, receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self.
In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been re-interpreted many times since then.
One of the best-known modern studies of mimesis, understood as a form of realism in the arts, is Erich Auerbach’s Mimesis: The Representation of Reality in Western Literature. Published in 1946 and written while the author was in exile from Nazi Germany, the book opens with a famous comparison between the way the world is represented in Homer’s Odyssey and the way it appears in the Bible. From these two seminal Western texts, Auerbach builds the foundation for a unified theory of representation that spans the entire history of Western literature, including the Modernist novels being written at the time Auerbach began his study.
The Frankfurt school critical theorist T.W. Adorno made use of mimesis as a central philosophical term, interpreting it as a way in which works of art embodied a form of reason that was non-repressive and non-violent.
Mimesis has been theorised by thinkers as diverse as Plato, Aristotle, Philip Sidney, Samuel Taylor Coleridge, Sigmund Freud, Walter Benjamin, Theodor Adorno, Erich Auerbach, Luce Irigaray, René Girard, Nikolas Kompridis, Philippe Lacoue-Labarthe, Michael Taussig, Merlin Donald, and Homi Bhabha.
1 Classical definitions
1.2.1 Contrast to diegesis
1.3 Dionysian imitatio
2 Samuel Taylor Coleridge
3 Luce Irigaray
4 Michael Taussig
5 See also
7 Salvador Minuchin
9 External links
 Classical definitions
Both Plato and Aristotle saw in mimesis the representation of nature. Plato wrote about mimesis in both Ion and The Republic (Books II, III and X). In Ion, he states that poetry is the art of divine madness, or inspiration. Because the poet is subject to this divine madness, it is not his/her function to convey the truth. As Plato has it, truth is the concern of the philosopher only. As culture in those days did not consist in the solitary reading of books, but in the listening to performances, the recitals of orators (and poets), or the acting out by classical actors of tragedy, Plato maintained in his critique that theatre was not sufficient in conveying the truth. He was concerned that actors or orators were thus able to persuade an audience by rhetoric rather than by telling the truth.
In Book II of The Republic, Plato describes Socrates’ dialogue with his pupils. Socrates warns we should not seriously regard poetry as being capable of attaining the truth and that we who listen to poetry should be on our guard against its seductions, since the poet has no place in our idea of God.
In developing this in Book X, Plato tells of Socrates’ metaphor of the three beds: one bed exists as an idea made by God (the Platonic ideal); one is made by the carpenter, in imitation of God’s idea; one is made by the artist in imitation of the carpenter’s.
So the artist’s bed is twice removed from the truth. The copiers only touch on a small part of things as they really are, where a bed may appear differently from various points of view, looked at obliquely or directly, or differently again in a mirror. So painters or poets, though they may paint or describe a carpenter or any other maker of things, know nothing of the carpenter’s (the craftsman’s) art, and though the better painters or poets they are, the more faithfully their works of art will resemble the reality of the carpenter making a bed, nonetheless the imitators will still not attain the truth (of God’s creation).
The poets, beginning with Homer, far from improving and educating humanity, do not possess the knowledge of craftsmen and are mere imitators who copy again and again images of virtue and rhapsodise about them, but never reach the truth in the way the superior philosophers do.
[bSimilar to Plato’s writings about mimesis, Aristotle also defined mimesis as the perfection and imitation of nature. Art is not only imitation but also the use of mathematical ideas and symmetry in the search for the perfect, the timeless, and contrasting being with becoming. Nature is full of change, decay, and cycles, but art can also search for what is everlasting and the first causes of natural phenomena. Aristotle wrote about the idea of four causes in nature. The first formal cause is like a blueprint, or an immortal idea. The second cause is the material, or what a thing is made out of. The third cause is the process and the agent, in which the artist or creator makes the thing. The fourth cause is the good, or the purpose and end of a thing, known as telos.
Aristotle’s Poetics is often referred to as the counterpart to this Platonic conception of poetry. Poetics is his treatise on the subject of mimesis. Aristotle was not against literature as such; he stated that human beings are mimetic beings, feeling an urge to create texts (art) that reflect and represent reality.
Aristotle considered it important that there be a certain distance between the work of art on the one hand and life on the other; we draw knowledge and consolation from tragedies only because they do not happen to us. Without this distance, tragedy could not give rise to catharsis. However, it is equally important that the text causes the audience to identify with the characters and the events in the text, and unless this identification occurs, it does not touch us as an audience. Aristotle holds that it is through “simulated representation”, mimesis, that we respond to the acting on the stage which is conveying to us what the characters feel, so that we may empathise with them in this way through the mimetic form of dramatic roleplay. It is the task of the dramatist to produce the tragic enactment in order to accomplish this empathy by means of what is taking place on stage.
In short, catharsis can only be achieved if we see something that is both recognisable and distant. Aristotle argued that literature is more interesting as a means of learning than history, because history deals with specific facts that have happened, and which are contingent, whereas literature, although sometimes based on history, deals with events that could have taken place or ought to have taken place.
Aristotle thought of drama as being “an imitation of an action” and of tragedy as “falling from a higher to a lower estate” and so being removed to a less ideal situation in more tragic circumstances than before. He posited the characters in tragedy as being better than the average human being, and those of comedy as being worse.
Michael Davis, a translator and commentator of Aristotle writes:
At first glance, mimesis seems to be a stylizing of reality in which the ordinary features of our world are brought into focus by a certain exaggeration, the relationship of the imitation to the object it imitates being something like the relationship of dancing to walking. Imitation always involves selecting something from the continuum of experience, thus giving boundaries to what really has no beginning or end. Mimêsis involves a framing of reality that announces that what is contained within the frame is not simply real. Thus the more “real” the imitation the more fraudulent it becomes.
 Contrast to diegesis
It was also Plato and Aristotle who contrasted mimesis with diegesis (Greek διήγησις). Mimesis shows, rather than tells, by means of directly represented action that is enacted. Diegesis, however, is the telling of the story by a narrator; the author narrates action indirectly and describes what is in the characters’ minds and emotions. The narrator may speak as a particular character or may be the invisible narrator or even the all-knowing narrator who speaks from above in the form of commenting on the action or the characters.
In Book III of his Republic (c. 373 BCE), Plato examines the style of poetry (the term includes comedy, tragedy, epic and lyric poetry): All types narrate events, he argues, but by differing means. He distinguishes between narration or report (diegesis) and imitation or representation (mimesis). Tragedy and comedy, he goes on to explain, are wholly imitative types; the dithyramb is wholly narrative; and their combination is found in epic poetry. When reporting or narrating, “the poet is speaking in his own person; he never leads us to suppose that he is any one else”; when imitating, the poet produces an “assimilation of himself to another, either by the use of voice or gesture”. In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as himself or herself.
In his Poetics, the ancient Greek philosopher Aristotle argues that kinds of poetry (the term includes drama, flute music, and lyre music for Aristotle) may be differentiated in three ways: according to their medium, according to their objects, and according to their mode or manner (section I); “For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us” (section III).
Though they conceive of mimesis in quite different ways, its relation with diegesis is identical in Plato’s and Aristotle’s formulations; one represents, the other reports; one embodies, the other narrates; one transforms, the other indicates; one knows only a continuous present, the other looks back on a past.
In ludology, mimesis is sometimes used to refer to the self-consistency of a represented world, and the availability of in-game rationalisations for elements of the gameplay. In this context, mimesis has an associated grade: highly self-consistent worlds that provide explanations for their puzzles and game mechanics are said to display a higher degree of mimesis. This usage can be traced back to the essay “Crimes Against Mimesis”.