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卮丕毓乇蹖: 亘賵胤蹖賯丕
蹖讴蹖 丕夭 賲賴賲鈥屫臂屬� 賳賵卮鬲賴鈥屬囏й� 丕乇爻胤賵 讴鬲丕亘 卮丕毓乇蹖 丕爻鬲 讴賴 丿乇 噩爻鬲噩賵蹖 丕乇丕卅賴 鬲賮爻蹖乇蹖 丿賯蹖賯 丕夭 丕賳賵丕毓 卮毓乇 賵 爻丕禺鬲丕乇 賵 丕噩夭丕蹖 卮毓乇 賵丕賱丕爻鬲. 丕乇爻胤賵 卮毓乇 乇丕 丕亘夭丕乇 鬲賯賱蹖丿 亘乇丕蹖 賳賲丕蹖卮 蹖丕 亘丕夭賳賲丕蹖蹖 夭賳丿诏蹖 亘賴 賵丕爻胤賴 卮禺氐蹖鬲貙 丕丨爻丕爻 賵 讴賳卮 賲蹖鈥屫з嗀�. 丕賱亘鬲賴 丕乇爻胤賵 亘乇丕蹖 卮毓乇 诏爻鬲乇丿賴 賲毓賳丕蹖蹖賽 賵爻蹖毓鈥屫臂� 乇丕 丿乇 賳馗乇 賲蹖鈥屭屫必� 亘賴 诏賵賳賴鈥屫й� 讴賴 丕蹖賳 馗乇賮 亘夭乇诏 丕賳賵丕毓 卮毓乇 丕夭 噩賲賱賴 丨賲丕爻賴貙 鬲乇丕跇丿蹖貙 讴賲丿蹖貙 賵... 乇丕 丿乇 禺賵丿 噩丕 丿賴丿.
丕乇爻胤賵 丿乇 卮丕毓乇蹖 賯氐丿 丌賳 乇丕 丿丕乇丿 鬲丕 亘丕 丕乇丕卅賴 丿爻鬲賵乇賴丕蹖 毓賲賱蹖 亘賴 鬲乇丕跇丿蹖鈥屬嗁堐屫斥€屬囏й� 賳賵倬丕 蹖丕乇蹖 亘乇爻丕賳丿 賵 丿乇 倬蹖 丌賳 丕爻鬲 鬲丕 丿賵乇 丕夭 賳诏乇賴 丌賲賵夭卮蹖貙 趩丕乇趩賵亘蹖 夭蹖亘丕蹖蹖鈥屫促嗀ж屫� 賳馗乇蹖 賵 毓賲賱蹖 丕乇丕卅賴 讴賳丿 讴賴 賳賲丕蹖卮賳丕賲賴鈥屬嗁堐屫池з� 乇丕 賳丕禺賵丿丌诏丕賴 爻賲鬲鈥屬堚€屫迟堐屰� 賴賳乇賲賳丿丕賳賴鈥屫� 賵 毓賲蹖賯鈥屫� 亘亘禺卮丿.
讴鬲丕亘 卮丕毓乇蹖 鬲兀孬蹖乇诏匕丕乇鬲乇蹖賳 丕孬乇 丿賳蹖丕蹖 讴賱丕爻蹖讴 丿乇 丨蹖胤賴 賳賯丿 丕丿亘蹖 丕爻鬲.
丕乇爻胤賵 丿乇 卮丕毓乇蹖 賯氐丿 丌賳 乇丕 丿丕乇丿 鬲丕 亘丕 丕乇丕卅賴 丿爻鬲賵乇賴丕蹖 毓賲賱蹖 亘賴 鬲乇丕跇丿蹖鈥屬嗁堐屫斥€屬囏й� 賳賵倬丕 蹖丕乇蹖 亘乇爻丕賳丿 賵 丿乇 倬蹖 丌賳 丕爻鬲 鬲丕 丿賵乇 丕夭 賳诏乇賴 丌賲賵夭卮蹖貙 趩丕乇趩賵亘蹖 夭蹖亘丕蹖蹖鈥屫促嗀ж屫� 賳馗乇蹖 賵 毓賲賱蹖 丕乇丕卅賴 讴賳丿 讴賴 賳賲丕蹖卮賳丕賲賴鈥屬嗁堐屫池з� 乇丕 賳丕禺賵丿丌诏丕賴 爻賲鬲鈥屬堚€屫迟堐屰� 賴賳乇賲賳丿丕賳賴鈥屫� 賵 毓賲蹖賯鈥屫� 亘亘禺卮丿.
讴鬲丕亘 卮丕毓乇蹖 鬲兀孬蹖乇诏匕丕乇鬲乇蹖賳 丕孬乇 丿賳蹖丕蹖 讴賱丕爻蹖讴 丿乇 丨蹖胤賴 賳賯丿 丕丿亘蹖 丕爻鬲.
223 pages, Paperback
First published January 1, 336
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About the author
Aristotle
3,406听books5,330听followersAristotle (Greek: 螒蚁喂蟽蟿慰蟿苇位畏蟼; 384鈥�322 BC) was an Ancient Greek philosopher and polymath. His writings cover a broad range of subjects spanning the natural sciences, philosophy, linguistics, economics, politics, psychology, and the arts. As the founder of the Peripatetic school of philosophy in the Lyceum in Athens, he began the wider Aristotelian tradition that followed, which set the groundwork for the development of modern science.
Little is known about Aristotle's life. He was born in the city of Stagira in northern Greece during the Classical period. His father, Nicomachus, died when Aristotle was a child, and he was brought up by a guardian. At 17 or 18, he joined Plato's Academy in Athens and remained there until the age of 37 (c.鈥�347 BC). Shortly after Plato died, Aristotle left Athens and, at the request of Philip II of Macedon, tutored his son Alexander the Great beginning in 343 BC. He established a library in the Lyceum, which helped him to produce many of his hundreds of books on papyrus scrolls.
Though Aristotle wrote many treatises and dialogues for publication, only around a third of his original output has survived, none of it intended for publication. Aristotle provided a complex synthesis of the various philosophies existing prior to him. His teachings and methods of inquiry have had a significant impact across the world, and remain a subject of contemporary philosophical discussion.
Aristotle's views profoundly shaped medieval scholarship. The influence of his physical science extended from late antiquity and the Early Middle Ages into the Renaissance, and was not replaced systematically until the Enlightenment and theories such as classical mechanics were developed. He influenced Judeo-Islamic philosophies during the Middle Ages, as well as Christian theology, especially the Neoplatonism of the Early Church and the scholastic tradition of the Catholic Church.
Aristotle was revered among medieval Muslim scholars as "The First Teacher", and among medieval Christians like Thomas Aquinas as simply "The Philosopher", while the poet Dante Alighieri called him "the master of those who know". His works contain the earliest known formal study of logic, and were studied by medieval scholars such as Pierre Ab茅lard and Jean Buridan. Aristotle's influence on logic continued well into the 19th century. In addition, his ethics, although always influential, gained renewed interest with the modern advent of virtue ethics.
Little is known about Aristotle's life. He was born in the city of Stagira in northern Greece during the Classical period. His father, Nicomachus, died when Aristotle was a child, and he was brought up by a guardian. At 17 or 18, he joined Plato's Academy in Athens and remained there until the age of 37 (c.鈥�347 BC). Shortly after Plato died, Aristotle left Athens and, at the request of Philip II of Macedon, tutored his son Alexander the Great beginning in 343 BC. He established a library in the Lyceum, which helped him to produce many of his hundreds of books on papyrus scrolls.
Though Aristotle wrote many treatises and dialogues for publication, only around a third of his original output has survived, none of it intended for publication. Aristotle provided a complex synthesis of the various philosophies existing prior to him. His teachings and methods of inquiry have had a significant impact across the world, and remain a subject of contemporary philosophical discussion.
Aristotle's views profoundly shaped medieval scholarship. The influence of his physical science extended from late antiquity and the Early Middle Ages into the Renaissance, and was not replaced systematically until the Enlightenment and theories such as classical mechanics were developed. He influenced Judeo-Islamic philosophies during the Middle Ages, as well as Christian theology, especially the Neoplatonism of the Early Church and the scholastic tradition of the Catholic Church.
Aristotle was revered among medieval Muslim scholars as "The First Teacher", and among medieval Christians like Thomas Aquinas as simply "The Philosopher", while the poet Dante Alighieri called him "the master of those who know". His works contain the earliest known formal study of logic, and were studied by medieval scholars such as Pierre Ab茅lard and Jean Buridan. Aristotle's influence on logic continued well into the 19th century. In addition, his ethics, although always influential, gained renewed interest with the modern advent of virtue ethics.
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Displaying 1 - 30 of 1,920 reviews
March 6, 2024
During the golden age of ancient Greece bards roamed the countryside mesmerizing crowds by reciting the epics of Homer. Thousands of men and women gathered and were moved to tears by tragedies performed outside in amphitheaters during sacred festivals. Such an amazingly powerful and profound experience for an entire population. What was going on here; why were people so deeply affected? Well, one of the sharpest, most analytic minds in the history of the West set himself the task of answering just this question - his name was Aristotle.
Indeed, Aristotle's Poetics is one of the greatest philosophical works ever written. For over two thousand years, philosophers, scholars and thinkers have been pouring over each phrase and sentence of the master's words as if they were nuggets of gold. There are enough commentaries to fill several thick volumes in a university library. Quite something since the entire Poetics is a mere twenty pages. But what coverage! To list several: plot, character, language and two concepts supercharged with meaning: mimesis (imitation) and catharsis (inspiring pity or fear).
Of course, in our contemporary world we don't listen to bards recite epics or go to amphitheaters to watch tragedies, but we have abundant experience of these dramatic elements since we, among other things, read novels and watch films. So, to provide a taste of Aristotle's work, I offer my modest comments along with quotes from the text. Please take this as an invitation to explore the Poetics on your own. Below is a link to a fine translation and a second link to an extraordinarily clear, brief, easy-to follow commentary.
"Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the instinct of imitation is implanted in man from childhood, one difference between him and other animals being that he is the most imitative of living creatures, and through imitation learns his earliest lessons; and no less universal is the pleasure felt in things imitated. . . . to learn gives the liveliest pleasure, not only to philosophers but to men in general"
Ah, pleasure! And pleasure in learning about life through imitation/fiction. Even if the story involves a Siberian prison camp or an insane chase of a white whale, there is a kind of pleasure in identifying with a character and living through the character's plight. Our humanness is enriched.
"Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude." -
The Maltese Falcon begins with very serious action: a murder. And the story is complete since at the end the case is solved and the criminals answer for their crimes. How many novels and films follow this formula? Round to the nearest million.
"Now as tragic imitation implies persons acting, it necessarily follows in the first place, that Spectacular equipment will be a part of Tragedy."
Even back in ancient Greece, Aristotle acknowledges how special effects can really juice the action.
"The most powerful elements of emotional interest in Tragedy- Peripeteia or Reversal of the Situation, and Recognition scenes- are parts of the plot."
I don't know about you, but I recall with the film Gone Girl my interest would ratchet up a few notches with every reversal and recognition. I can just imagine Gillian Flynn pouring over her Aristotle.
"The greater the length, the more beautiful will the piece be by reason of its size, provided that the whole be perspicuous."
When I go to a three hour movie or pick up a nine hundred page novel, my first thought: this had better be good. And when it is good, a great pay-off for time spent.
"Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity."
Admit it, we remember most those times when we are emotionally wrenched.
Poetics, on line:
Commentary:
March 9, 2019
I just reluctantly gave my copy of Aristotle's Poetics to my son, who recently discovered drama. It is earmarked and highlighted and it guided me through university, telling me what I needed to know about tragedy and its core elements, such as unity of time, place and action.
The reason we started talking about drama was that my son didn't particularly like Emilia Galotti, Lessing's "B眉rgerliche Trag枚die", and we talked about the strange code of honour that made a father kill his daughter to save her virtue. "What's progressive about that?" my son asked furiously, and I found myself in the bizarre position to defend patriarchy and its flawed moral codes, by saying that it was modern "back then" to let a girl die "tragically" without being a princess or a queen.
My son raised his eyebrows, and I sensed the lack of logic.
"So it was progressive that women of ALL classes were allowed to be sacrificed to the egos of men who considered them their property?"
"Eh!"
I love the fact that literature makes me challenge my own acquired knowledge, and think again about something I just took at face value when I read Emilia Galotti myself. For of course it is bizarre, especially considering that Lessing is a representative of Enlightenment culture.
And while we were at it, we talked about all the other bizarre elements of classical drama.
And we realised that it is more like life than we first thought: after all, each day we reinvent the narratives of our lives and press them into what we can perceive as one action, one place and one time: one day of madness and drama.
So yesterday I acted out the tragic loss of my university copy of Aristotle! It will stay in spirit.
The reason we started talking about drama was that my son didn't particularly like Emilia Galotti, Lessing's "B眉rgerliche Trag枚die", and we talked about the strange code of honour that made a father kill his daughter to save her virtue. "What's progressive about that?" my son asked furiously, and I found myself in the bizarre position to defend patriarchy and its flawed moral codes, by saying that it was modern "back then" to let a girl die "tragically" without being a princess or a queen.
My son raised his eyebrows, and I sensed the lack of logic.
"So it was progressive that women of ALL classes were allowed to be sacrificed to the egos of men who considered them their property?"
"Eh!"
I love the fact that literature makes me challenge my own acquired knowledge, and think again about something I just took at face value when I read Emilia Galotti myself. For of course it is bizarre, especially considering that Lessing is a representative of Enlightenment culture.
And while we were at it, we talked about all the other bizarre elements of classical drama.
And we realised that it is more like life than we first thought: after all, each day we reinvent the narratives of our lives and press them into what we can perceive as one action, one place and one time: one day of madness and drama.
So yesterday I acted out the tragic loss of my university copy of Aristotle! It will stay in spirit.
May 11, 2025
After taking the plunge (it's still nothing to say that we are about to read an author from about 300 BC), I am in the company of Aristotle. My first impression was, "Actually, it's not as bad as I imagined."
Indeed, some terms remain beyond our reach, but they should not fool us. Please read the text as you would a foreign language, passing over incomprehensible words to grasp the essence of the text.
This little work is interesting, with sixty pages of text and four pages of notes. We learn how to produce such an effect on the reader (or the spectator), arouse such emotion, and arrange the facts between them. Even today, writers are inspired by Aristotle to write their stories. I understand why today.
Indeed, some terms remain beyond our reach, but they should not fool us. Please read the text as you would a foreign language, passing over incomprehensible words to grasp the essence of the text.
This little work is interesting, with sixty pages of text and four pages of notes. We learn how to produce such an effect on the reader (or the spectator), arouse such emotion, and arrange the facts between them. Even today, writers are inspired by Aristotle to write their stories. I understand why today.
March 26, 2017
It鈥檚 odd that the most ancient essay on literary criticism is one of the easiest to understand. It is so accessible. If you compare this to works by Nietzsche, Hegel and Freud the extremities of this can easily be seen. Aristotle explains his theory in the most basic language possible with no artful language that distances the reader from it. It is completely comprehensive and virtually impossible not to understand. Aristotle was an advocate of presenting his arguments in the most simplest of languages. And I thank him for it.
Without this book I don鈥檛 think I would have been able to fully comprehend exactly what a Tragedy is or how they work, and I most certainly wouldn鈥檛 have been able to pass my Tragedy module of my degree. The Poetics is essentially a guide, or rulebook, for what makes the perfect tragic play. Aristotle argues, well teaches us, that it is achieved through a Cathartic moment that arouses pity and fear at the same time. This occurs only if the plot is sufficiently complex, which brings forth the tragic action.
The plot鈥檚 complexity should be achieved through the use of recognition, a reversal and heaps of suffering for everybody. The reversal is usually something like the revenger becoming the revenged and this can be achieved through recognition. The recognition is the true knowledge acquired about one鈥檚 circumstance, which will always bring about suffering for the tragic character. In addition, the tragic characters should have a hamartia, which is to say they should have a tragic flaw. This could be something like extreme loyalty or ignorance. If you believe the Hegel model of tragedy then this is also the thing that makes the character 鈥渂etter than ourselves.鈥� The best illustration of a hamartia, and the one Aristotle uses, is Oedipus. His lack of knowledge causes him to murder his farther and marry his mother, but at the same time leads him to become a mighty King.
This is a work that every literature student is encouraged to read, and there鈥檚 a reason for it. Aristotle鈥檚 theory enlightens the reader to the devices behind tragic art. Once you鈥檝e read this you鈥檒l never be able to read a Tragedy again without this in mind; it forms almost a mental checklist in your head.
Without this book I don鈥檛 think I would have been able to fully comprehend exactly what a Tragedy is or how they work, and I most certainly wouldn鈥檛 have been able to pass my Tragedy module of my degree. The Poetics is essentially a guide, or rulebook, for what makes the perfect tragic play. Aristotle argues, well teaches us, that it is achieved through a Cathartic moment that arouses pity and fear at the same time. This occurs only if the plot is sufficiently complex, which brings forth the tragic action.
The plot鈥檚 complexity should be achieved through the use of recognition, a reversal and heaps of suffering for everybody. The reversal is usually something like the revenger becoming the revenged and this can be achieved through recognition. The recognition is the true knowledge acquired about one鈥檚 circumstance, which will always bring about suffering for the tragic character. In addition, the tragic characters should have a hamartia, which is to say they should have a tragic flaw. This could be something like extreme loyalty or ignorance. If you believe the Hegel model of tragedy then this is also the thing that makes the character 鈥渂etter than ourselves.鈥� The best illustration of a hamartia, and the one Aristotle uses, is Oedipus. His lack of knowledge causes him to murder his farther and marry his mother, but at the same time leads him to become a mighty King.
This is a work that every literature student is encouraged to read, and there鈥檚 a reason for it. Aristotle鈥檚 theory enlightens the reader to the devices behind tragic art. Once you鈥檝e read this you鈥檒l never be able to read a Tragedy again without this in mind; it forms almost a mental checklist in your head.
December 3, 2009
This is perhaps my favourite philosopher of the Ancient world chatting about literary criticism 鈥� it doesn鈥檛 really get too much better than this. Plato, of course, wanted to banish all of the artists from his ideal republic. He wanted to do this because the world we live in is a poor copy of the 鈥榬eal鈥� world and so art is but a copy of a copy. Rather than bring us closer to the truth, Plato believed that art took us further away.
It can鈥檛 have been easy for Aristotle, Plato鈥檚 student, to disagree with the views of the master 鈥� but disagree he clearly did. He begins this by agreeing with Plato that art is imitation of the world, but rather than this being a bad thing, he says that the advantage of art is that it cuts out the dross of existence and concentrates what is important. By doing this art allows us to look beyond the particulars of our everyday existence and see the universals. The lessons we learn from art are thereby clearer and easier to assimilate. Life is always lived in the particular, but art, to Aristotle, allows us to see deeper truths because it moves us towards universals. Characters may have individual names, but we find it harder to distance ourselves from characters in fiction than we are able to do with characters in history.
It would be hard to discuss this book without mentioning catharsis. It is a Greek word meaning purgative, and to Aristotle the appeal of tragedies was that they act like a purgative on our emotions. It is a fascinating idea and one that I think still holds. It would be otherwise hard to see why we enjoy tragedies. The notion that 鈥榯here but for the grace of God鈥� and the recognition that bad things happen even to the best of men are ideas that do have a cathartic effect on our emotions. Shit happens, but it happens to the best of us as well as to the worst of us.
There is always something nice about watching Aristotle slice up the world 鈥� he is a remarkably logical person and someone who is able to not only divide the world into its logical components, but to then say incredibly interesting things about these slices.
I first read this twenty years ago, it is well worth reading and re-reading.
It can鈥檛 have been easy for Aristotle, Plato鈥檚 student, to disagree with the views of the master 鈥� but disagree he clearly did. He begins this by agreeing with Plato that art is imitation of the world, but rather than this being a bad thing, he says that the advantage of art is that it cuts out the dross of existence and concentrates what is important. By doing this art allows us to look beyond the particulars of our everyday existence and see the universals. The lessons we learn from art are thereby clearer and easier to assimilate. Life is always lived in the particular, but art, to Aristotle, allows us to see deeper truths because it moves us towards universals. Characters may have individual names, but we find it harder to distance ourselves from characters in fiction than we are able to do with characters in history.
It would be hard to discuss this book without mentioning catharsis. It is a Greek word meaning purgative, and to Aristotle the appeal of tragedies was that they act like a purgative on our emotions. It is a fascinating idea and one that I think still holds. It would be otherwise hard to see why we enjoy tragedies. The notion that 鈥榯here but for the grace of God鈥� and the recognition that bad things happen even to the best of men are ideas that do have a cathartic effect on our emotions. Shit happens, but it happens to the best of us as well as to the worst of us.
There is always something nice about watching Aristotle slice up the world 鈥� he is a remarkably logical person and someone who is able to not only divide the world into its logical components, but to then say incredibly interesting things about these slices.
I first read this twenty years ago, it is well worth reading and re-reading.
September 10, 2019
If you want to learn about tragedy--or narrative in general--this is still the best place to start.
May 13, 2023
The title is misleading; Aristotle discusses in this treatise not poetry but drama, and in particular the tragedy. The confusion rises from the fact that Classical Greek plays used to be written in metred verse. Aristotle's analysis is so lucid and systematic that it is hard to believe that this book was written more than two thousand years ago. Scholars believe that it was originally compiled by Aristotle's students as lecture notes, and many of them surmise the existence of a second volume, devoted to comedy - now long lost (this missing volume has a major role to play in the storyline of Umberto Eco's The Name of the Rose).
Aristotle cites many examples from Classical Greek plays, and sadly I was not familiar with most of them. Even with my partial understanding I found this book to be an outstanding testament for an exceptional intellect.
Aristotle cites many examples from Classical Greek plays, and sadly I was not familiar with most of them. Even with my partial understanding I found this book to be an outstanding testament for an exceptional intellect.
This entire review has been hidden because of spoilers.
October 21, 2020
螤蔚蟻峤� 蟺慰喂畏蟿喂魏峥喯� = De Poetica; c. 335 BC = Aristotelis de arte Poetica Liber = Poetics, Aristotle
Aristotle's Poetics is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory in the West. This has been the traditional view for centuries.
The table of contents page of the Poetics found in Modern Library's Basic Works of Aristotle (2001) identifies five basic parts within it.
A. Preliminary discourse on tragedy, epic poetry, and comedy, as the chief forms of imitative poetry.
B. Definition of a tragedy, and the rules for its construction. Definition and analysis into qualitative parts.
C. Rules for the construction of a tragedy: Tragic pleasure, or catharsis experienced by fear and pity should be produced in the spectator. The characters must be four things: good, appropriate, realistic, and consistent. Discovery must occur within the plot. Narratives, stories, structures and poetics overlap. It is important for the poet to visualize all of the scenes when creating the plot. The poet should incorporate complication and d茅nouement within the story, as well as combine all of the elements of tragedy. The poet must express thought through the characters' words and actions, while paying close attention to diction and how a character's spoken words express a specific idea. Aristotle believed that all of these different elements had to be present in order for the poetry to be well-done.
D. Possible criticisms of an epic or tragedy, and the answers to them.
E. Tragedy as artistically superior to epic poetry: Tragedy has everything that the epic has, even the epic meter being admissible. The reality of presentation is felt in the play as read, as well as in the play as acted. The tragic imitation requires less space for the attainment of its end. If it has more concentrated effect, it is more pleasurable than one with a large admixture of time to dilute it. There is less unity in the imitation of the epic poets (plurality of actions) and this is proved by the fact that an epic poem can supply enough material for several tragedies.
毓賳賵丕賳賴丕: 芦賮賳 卮毓乇禄貙 芦賴賳乇 卮丕毓乇蹖 亘賵胤蹖賯丕禄貨 芦賳丕賲賴 丕乇爻胤丕胤丕賱蹖爻 丿乇 亘丕乇賴 賴賳乇 卮毓乇禄貨 丕孬乇: 丕乇爻胤賵貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 賲丕賴 賲蹖 爻丕賱 1974賲蹖賱丕丿蹖
毓賳賵丕賳: 賮賳 卮毓乇貨 丕孬乇: 丕乇爻胤賵貨 賲鬲乇噩賲: 毓亘丿丕賱丨爻蹖賳 夭乇蹖賳 讴賵亘貨 鬲賴乇丕賳貙 亘賳诏丕賴 賳卮乇 賵 鬲乇噩賲賴貙 趩丕倬 丿賵賲 1343貙 丿乇 245氐貨 讴鬲丕亘賳丕賲賴 丿丕乇丿貨 趩丕倬 爻賵賲 1353貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 丕賲蹖乇讴亘蹖乇貙 1369貙 丿乇 220氐貙 趩丕倬 爻賵賲 1381貙 趩丕倬 趩賴丕乇賲 1382貙 趩丕倬 倬賳噩賲 1385貙 趩丕倬 卮卮賲 1387貨 趩丕倬 賴賮鬲賲 賵 賴卮鬲賲貙 1392貙 卮丕亘讴 9789640007860貨 賲賵囟賵毓: 賳賯丿 丕丿亘蹖貙 鬲乇丕跇丿蹖貙 賮賳 卮毓乇貨 爻丿賴 4倬蹖卮 丕夭 賲蹖賱丕丿
賳禺爻鬲蹖賳 亘丕乇 亘丕 毓賳賵丕賳賴丕蹖 芦賮賳 卮毓乇禄貙 賵 芦賴賳乇 卮丕毓乇蹖 亘賵胤蹖賯丕禄貨 丿乇 爻丕賱 1335賴噩乇蹖 禺賵乇卮蹖丿蹖貙 亘丕 鬲乇噩賲賴 噩賳丕亘 芦賮鬲丨 丕賱賱賴 賲噩鬲亘丕蹖蹖禄貙 鬲賵爻胤 丕賳鬲卮丕乇丕鬲 丕賳丿蹖卮賴貙 賵 丿乇 爻丕賱 1337賴噩乇蹖 禺賵乇卮蹖丿蹖貙 賵 亘丕 毓賳賵丕賳 芦賳丕賲賴 丕乇爻胤丕胤丕賱蹖爻 丿乇 亘丕乇賴 賴賳乇 卮毓乇禄貙 亘丕 鬲乇噩賲賴 蹖 噩賳丕亘 芦丨爻蹖賳 丕賮賳丕賳禄貙 賲賳鬲卮乇 卮丿賴 丕爻鬲貨 乇爻丕賱賴 蹖 芦賮賳 卮毓乇 丕乇爻胤賵 (賮賳 卮毓乇 = 亘賵胤蹖賯丕 = 倬賵卅鬲蹖讴丕)禄貙 賲賴賲鈥屫臂屬� 賲蹖乇丕孬 賮賱爻賮蹖 丕丿亘蹖 芦蹖賵賳丕賳禄 丕爻鬲貙 丕蹖賳 乇爻丕賱賴貙 賳禺爻鬲蹖賳 讴丕乇 亘丕夭賲丕賳丿賴貙 丿乇 丨賵夭賴 蹖 賳馗乇蹖賴 蹖 丿乇丕賲丕鬲蹖讴貙 賵 賳禺爻鬲蹖賳 乇爻丕賱賴 蹖 賮賱爻賮蹖 賲賵噩賵丿貙 亘丕 鬲賲乇讴夭貙 亘乇 芦爻禺賳鈥� 卮賳丕爻蹖禄貙 賵 芦賳馗乇蹖賴 蹖 丕丿亘蹖禄 丕爻鬲貨 芦丕乇爻胤賵禄貙 丿乇 芦賮賳 卮毓乇禄貙 賲賮賴賵賲蹖 乇丕 亘乇乇爻蹖 賲蹖鈥屭┵嗀� 讴賴 丕夭 丌賳 鬲丨鬲 毓賳賵丕賳 芦卮毓乇禄 蹖丕丿 賲蹖鈥屭┵嗀� 賮賳 卮毓乇 乇丕貙 賳禺爻鬲蹖賳 亘丕乇 芦丕亘賵亘卮乇 賲鬲蹖 亘賳 蹖賵賳爻 - 丕夭 賳爻胤賵乇蹖丕賳 亘睾丿丕丿貙 讴賴 乇卅蹖爻 賲賳胤賯蹖丕賳 毓氐乇 禺賵蹖卮貙 亘卮賲丕乇 賲蹖鈥屫①呚回� 丕夭 賲鬲賳 芦爻乇蹖丕賳蹖禄貙 亘賴 芦毓乇亘蹖禄 鬲乇噩賲賴 讴乇丿貨 鬲乇噩賲賴鈥� 丕蹖 讴賴 丕蹖卮丕賳 丕夭 賮賳 卮毓乇 讴乇丿賳丿貙 禺胤丕賴丕 賵 丕亘賴丕賲丕鬲 亘爻蹖丕乇蹖 丿丕卮鬲貨 倬爻 丕夭 丕蹖卮丕賳貙 卮丕诏乇丿卮 芦蹖丨蹖蹖 亘賳 毓丿蹖禄貙 丿爻鬲 亘賴 鬲乇噩賲賴 蹖 丿賵亘丕乇賴 蹖 丌賳 賲蹖鈥屫操嗀� 賵 芦蹖毓賯賵亘 亘賳 丕爻丨丕賯 丕賱讴賳丿蹖禄貙 亘乇丕蹖 賳禺爻鬲蹖賳 亘丕乇 丌賳 乇丕 禺賱丕氐賴 賲蹖讴賳丿貨 倬爻 丕夭 芦讴賳丿蹖禄貙 芦丕亘賵賳氐乇 賮丕乇丕亘蹖 (賲鬲賵賮蹖 亘賴 爻丕賱 339賴噩乇蹖)禄貙 讴賴 卮丕诏乇丿 芦丕亘賵亘卮乇 賲鬲蹖禄 賳蹖夭 亘賵丿賳丿貙 亘賴 卮乇丨 賮賳 卮毓乇 倬乇丿丕禺鬲賳丿貨 倬爻 丕夭 芦賮丕乇丕亘蹖禄 賲毓乇賵賮鈥屫臂屬� 讴爻蹖讴賴 丿爻鬲 亘賴 讴丕乇 卮乇丨 賵 鬲賱禺蹖氐 賮賳 卮毓乇 賲蹖鈥屬矩必ж藏� 乇賵丕賳卮丕丿 芦丕亘賳鈥� 爻蹖賳丕 (倬賵乇爻蹖賳丕)禄爻鬲貨 倬爻 丕夭 芦丕亘賳鈥� 爻蹖賳丕禄貙 賲毓乇賵賮鬲乇蹖賳 讴爻蹖 讴賴 亘賴 鬲賱禺蹖氐 賵 卮乇丨 芦亘賵胤蹖賯丕貙 倬賵卅鬲蹖讴丕禄 丕賯丿丕賲 賲蹖鈥屭┵嗀� 乇賵丕賳卮丕丿 芦丕亘賳鈥� 乇卮丿禄 亘賵丿賴 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 29/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Aristotle's Poetics is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory in the West. This has been the traditional view for centuries.
The table of contents page of the Poetics found in Modern Library's Basic Works of Aristotle (2001) identifies five basic parts within it.
A. Preliminary discourse on tragedy, epic poetry, and comedy, as the chief forms of imitative poetry.
B. Definition of a tragedy, and the rules for its construction. Definition and analysis into qualitative parts.
C. Rules for the construction of a tragedy: Tragic pleasure, or catharsis experienced by fear and pity should be produced in the spectator. The characters must be four things: good, appropriate, realistic, and consistent. Discovery must occur within the plot. Narratives, stories, structures and poetics overlap. It is important for the poet to visualize all of the scenes when creating the plot. The poet should incorporate complication and d茅nouement within the story, as well as combine all of the elements of tragedy. The poet must express thought through the characters' words and actions, while paying close attention to diction and how a character's spoken words express a specific idea. Aristotle believed that all of these different elements had to be present in order for the poetry to be well-done.
D. Possible criticisms of an epic or tragedy, and the answers to them.
E. Tragedy as artistically superior to epic poetry: Tragedy has everything that the epic has, even the epic meter being admissible. The reality of presentation is felt in the play as read, as well as in the play as acted. The tragic imitation requires less space for the attainment of its end. If it has more concentrated effect, it is more pleasurable than one with a large admixture of time to dilute it. There is less unity in the imitation of the epic poets (plurality of actions) and this is proved by the fact that an epic poem can supply enough material for several tragedies.
毓賳賵丕賳賴丕: 芦賮賳 卮毓乇禄貙 芦賴賳乇 卮丕毓乇蹖 亘賵胤蹖賯丕禄貨 芦賳丕賲賴 丕乇爻胤丕胤丕賱蹖爻 丿乇 亘丕乇賴 賴賳乇 卮毓乇禄貨 丕孬乇: 丕乇爻胤賵貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 賲丕賴 賲蹖 爻丕賱 1974賲蹖賱丕丿蹖
毓賳賵丕賳: 賮賳 卮毓乇貨 丕孬乇: 丕乇爻胤賵貨 賲鬲乇噩賲: 毓亘丿丕賱丨爻蹖賳 夭乇蹖賳 讴賵亘貨 鬲賴乇丕賳貙 亘賳诏丕賴 賳卮乇 賵 鬲乇噩賲賴貙 趩丕倬 丿賵賲 1343貙 丿乇 245氐貨 讴鬲丕亘賳丕賲賴 丿丕乇丿貨 趩丕倬 爻賵賲 1353貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 丕賲蹖乇讴亘蹖乇貙 1369貙 丿乇 220氐貙 趩丕倬 爻賵賲 1381貙 趩丕倬 趩賴丕乇賲 1382貙 趩丕倬 倬賳噩賲 1385貙 趩丕倬 卮卮賲 1387貨 趩丕倬 賴賮鬲賲 賵 賴卮鬲賲貙 1392貙 卮丕亘讴 9789640007860貨 賲賵囟賵毓: 賳賯丿 丕丿亘蹖貙 鬲乇丕跇丿蹖貙 賮賳 卮毓乇貨 爻丿賴 4倬蹖卮 丕夭 賲蹖賱丕丿
賳禺爻鬲蹖賳 亘丕乇 亘丕 毓賳賵丕賳賴丕蹖 芦賮賳 卮毓乇禄貙 賵 芦賴賳乇 卮丕毓乇蹖 亘賵胤蹖賯丕禄貨 丿乇 爻丕賱 1335賴噩乇蹖 禺賵乇卮蹖丿蹖貙 亘丕 鬲乇噩賲賴 噩賳丕亘 芦賮鬲丨 丕賱賱賴 賲噩鬲亘丕蹖蹖禄貙 鬲賵爻胤 丕賳鬲卮丕乇丕鬲 丕賳丿蹖卮賴貙 賵 丿乇 爻丕賱 1337賴噩乇蹖 禺賵乇卮蹖丿蹖貙 賵 亘丕 毓賳賵丕賳 芦賳丕賲賴 丕乇爻胤丕胤丕賱蹖爻 丿乇 亘丕乇賴 賴賳乇 卮毓乇禄貙 亘丕 鬲乇噩賲賴 蹖 噩賳丕亘 芦丨爻蹖賳 丕賮賳丕賳禄貙 賲賳鬲卮乇 卮丿賴 丕爻鬲貨 乇爻丕賱賴 蹖 芦賮賳 卮毓乇 丕乇爻胤賵 (賮賳 卮毓乇 = 亘賵胤蹖賯丕 = 倬賵卅鬲蹖讴丕)禄貙 賲賴賲鈥屫臂屬� 賲蹖乇丕孬 賮賱爻賮蹖 丕丿亘蹖 芦蹖賵賳丕賳禄 丕爻鬲貙 丕蹖賳 乇爻丕賱賴貙 賳禺爻鬲蹖賳 讴丕乇 亘丕夭賲丕賳丿賴貙 丿乇 丨賵夭賴 蹖 賳馗乇蹖賴 蹖 丿乇丕賲丕鬲蹖讴貙 賵 賳禺爻鬲蹖賳 乇爻丕賱賴 蹖 賮賱爻賮蹖 賲賵噩賵丿貙 亘丕 鬲賲乇讴夭貙 亘乇 芦爻禺賳鈥� 卮賳丕爻蹖禄貙 賵 芦賳馗乇蹖賴 蹖 丕丿亘蹖禄 丕爻鬲貨 芦丕乇爻胤賵禄貙 丿乇 芦賮賳 卮毓乇禄貙 賲賮賴賵賲蹖 乇丕 亘乇乇爻蹖 賲蹖鈥屭┵嗀� 讴賴 丕夭 丌賳 鬲丨鬲 毓賳賵丕賳 芦卮毓乇禄 蹖丕丿 賲蹖鈥屭┵嗀� 賮賳 卮毓乇 乇丕貙 賳禺爻鬲蹖賳 亘丕乇 芦丕亘賵亘卮乇 賲鬲蹖 亘賳 蹖賵賳爻 - 丕夭 賳爻胤賵乇蹖丕賳 亘睾丿丕丿貙 讴賴 乇卅蹖爻 賲賳胤賯蹖丕賳 毓氐乇 禺賵蹖卮貙 亘卮賲丕乇 賲蹖鈥屫①呚回� 丕夭 賲鬲賳 芦爻乇蹖丕賳蹖禄貙 亘賴 芦毓乇亘蹖禄 鬲乇噩賲賴 讴乇丿貨 鬲乇噩賲賴鈥� 丕蹖 讴賴 丕蹖卮丕賳 丕夭 賮賳 卮毓乇 讴乇丿賳丿貙 禺胤丕賴丕 賵 丕亘賴丕賲丕鬲 亘爻蹖丕乇蹖 丿丕卮鬲貨 倬爻 丕夭 丕蹖卮丕賳貙 卮丕诏乇丿卮 芦蹖丨蹖蹖 亘賳 毓丿蹖禄貙 丿爻鬲 亘賴 鬲乇噩賲賴 蹖 丿賵亘丕乇賴 蹖 丌賳 賲蹖鈥屫操嗀� 賵 芦蹖毓賯賵亘 亘賳 丕爻丨丕賯 丕賱讴賳丿蹖禄貙 亘乇丕蹖 賳禺爻鬲蹖賳 亘丕乇 丌賳 乇丕 禺賱丕氐賴 賲蹖讴賳丿貨 倬爻 丕夭 芦讴賳丿蹖禄貙 芦丕亘賵賳氐乇 賮丕乇丕亘蹖 (賲鬲賵賮蹖 亘賴 爻丕賱 339賴噩乇蹖)禄貙 讴賴 卮丕诏乇丿 芦丕亘賵亘卮乇 賲鬲蹖禄 賳蹖夭 亘賵丿賳丿貙 亘賴 卮乇丨 賮賳 卮毓乇 倬乇丿丕禺鬲賳丿貨 倬爻 丕夭 芦賮丕乇丕亘蹖禄 賲毓乇賵賮鈥屫臂屬� 讴爻蹖讴賴 丿爻鬲 亘賴 讴丕乇 卮乇丨 賵 鬲賱禺蹖氐 賮賳 卮毓乇 賲蹖鈥屬矩必ж藏� 乇賵丕賳卮丕丿 芦丕亘賳鈥� 爻蹖賳丕 (倬賵乇爻蹖賳丕)禄爻鬲貨 倬爻 丕夭 芦丕亘賳鈥� 爻蹖賳丕禄貙 賲毓乇賵賮鬲乇蹖賳 讴爻蹖 讴賴 亘賴 鬲賱禺蹖氐 賵 卮乇丨 芦亘賵胤蹖賯丕貙 倬賵卅鬲蹖讴丕禄 丕賯丿丕賲 賲蹖鈥屭┵嗀� 乇賵丕賳卮丕丿 芦丕亘賳鈥� 乇卮丿禄 亘賵丿賴 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 29/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
January 9, 2019
丕賮賱丕胤賵賳 賲賵鬲賵乇 賲丨乇讴 丕賳丿蹖卮賴 賴丕蹖 丕乇爻胤賵 亘賵丿. 丕夭 丌賳 噩丕蹖蹖 讴賴 賴蹖趩 丕賳丿蹖卮賲賳丿蹖 丿乇 噩賴丕賳 賵噩賵丿 賳丿丕乇丿 讴賴 丿趩丕乇 丕卮鬲亘丕賴 賳卮丿賴 亘丕卮丿貙 丕乇爻胤賵 賳蹖夭 丿乇 賮賳 卮毓乇 丕夭 丕卮鬲亘丕賴丕鬲 賲丨丕爻亘丕鬲蹖 亘賴 丿賵乇 賳亘賵丿賴 丕爻鬲. 賳馗丕賲 丕禺賱丕賯蹖 丕賮賱丕胤賵賳貙 亘丕毓孬 胤乇丿 賵 鬲丨乇蹖賲 亘乇禺蹖 丕夭 卮丕禺賴 賴丕蹖 賴賳乇 賵 丕丿亘蹖丕鬲 诏乇丿蹖丿. 丿乇 亘禺卮蹖 丕夭 丕蹖賳 鬲毓氐亘丕鬲 丕賮賱丕胤賵賳 丨賯 丿丕卮鬲 賵 丿乇 亘禺卮蹖 丿蹖诏乇 卮丕毓乇丕賳 賵 丕丿亘丕. 丕賲丕 丿乇 讴賱 趩賳蹖賳 丿蹖丿诏丕賴蹖 亘丕毓孬 鬲賳夭蹖賴 賵 讴賲乇賳诏 卮丿賳 賵 賲丨鬲丕胤 鬲乇 亘賵丿賳 丕丿亘蹖丕鬲 卮丿. 丿乇 亘乇禺蹖 丕夭 亘禺卮 賴丕蹖 乇爻丕賱踿 賮賳 卮毓乇 丕乇爻胤賵貙 賲卮丕亘賴 趩賳蹖賳 丿蹖丿诏丕賴 賵 胤乇夭 亘乇禺賵乇丿蹖 乇丕 賲卮丕賴丿賴 賲蹖 讴賳蹖賲.
卮毓乇 睾賳丕蹖蹖:
丕噩丨丕賮蹖 讴賴 亘乇 卮毓乇 睾賳丕蹖蹖 丿乇 丕蹖賳 乇爻丕賱賴 賲蹖 乇賵丿 賯丕亘賱 鬲兀賲賱 丕爻鬲. 丕乇爻胤賵 賲賵爻蹖賯蹖 乇丕 鬲丕 賲乇夭 鬲胤亘蹖賯 亘丕 丕丿亘蹖丕鬲 睾賳丕蹖蹖 倬蹖卮 賲蹖 亘乇丿 賵 賳丕诏賴丕賳 賲鬲賵噩賴 賲蹖 卮賵丿 賳亘丕蹖丿 丿乇 鬲賯爻蹖賲 亘賳丿蹖 跇丕賳乇賴丕貙 丕蹖賳 诏賵賳賴 乇丕 匕讴乇 讴賳丿貙 夭蹖乇丕 賮賳蹖 亘賴 賳丕賲 賲賵爻蹖賯蹖 噩賵乇 丌賳 乇丕 禺賵丕賴丿 讴卮蹖丿 賵 丕丿亘 睾賳丕蹖蹖 賴賲丕賳 丕丿亘 賱蹖乇蹖讴 (賱賵乇 蹖丕 賱蹖乇= 賳賵毓蹖 丌賱鬲 賲賵爻蹖賯蹖) 丕爻鬲. 丕賲丕 丕蹖賳 丕卮鬲亘丕賴 賲丨丕爻亘丕鬲蹖 鬲賳丕賯囟丕鬲 爻禺鬲蹖 丿乇 賳馗丕賲 賮讴乇蹖 丕乇爻胤賵 倬丿蹖丿 賲蹖 丌賵乇丿. 亘賴 賵蹖跇賴 讴賴 亘丕 讴賲蹖 丌诏丕賴蹖 倬蹖 賲蹖 亘乇蹖賲 丿蹖诏乇 卮丕禺賴 賴丕 賳蹖夭 亘丕 賲賵爻蹖賯蹖 丕禺鬲 賵 賴賲乇丕賴 亘賵丿賴 丕賳丿 : 鬲乇丕跇丿蹖貙 丨賲丕爻賴貙 胤賳夭. 賲诏乇 丿賱蹖賱 趩賳蹖賳 丕卮鬲亘丕賴蹖 乇丕 鬲丕孬蹖乇 賳馗丕賲 賮讴乇蹖 丕賮賱丕胤賵賳 丿乇 丕乇爻胤賵 亘丿丕賳蹖賲 賵 鬲乇爻 丕夭 鬲毓丕賱蹖賲 賮丕爻丿 賵 賲囟丕賲蹖賳 賳丕賲賳丕爻亘 賵 睾蹖乇 丕禺賱丕賯蹖 丕卮毓丕乇 睾賳丕蹖蹖.
賲鬲丕爻賮丕賳賴 亘丕 鬲乇噩賲賴 丕蹖賳 丿蹖丿诏丕賴 賴丕 賲爻賱賲丕賳丕賳 賳蹖夭 丕夭 賲讴鬲亘 丕賮賱丕胤賵賳 賵 丕乇爻胤賵 趩蹖夭蹖 噩夭 賳賯丿 丕禺賱丕賯蹖 禺賱賯 賳讴乇丿賳丿. 丨鬲蹖 鬲賵賱爻鬲賵蹖 賳蹖夭 亘賴 胤乇夭蹖 丕亘賱賴丕賳賴 丿乇 賯乇賳蹖 讴賴 丿乇 丌爻鬲丕賳踿 賵乇賵丿 亘賴 丿賳蹖丕蹖 賲丿乇賳 賴爻鬲貙 丿乇 讴鬲丕亘 芦賴賳乇 趩蹖爻鬲禄貙 禺賵丿 乇丕 丕賮賱丕胤賵賳蹖 丿蹖诏乇 丕夭 丕蹖賳 賳馗乇蹖丕鬲 賲毓乇賮蹖 賳賲賵丿. 賳賯丿 丕禺賱丕賯蹖 亘賴 胤賵乇 賵囟賵丨 丿乇 丕乇賵倬丕 賵 卮乇賯 鬲丕 趩賳丿蹖賳 賯乇賳 丕爻鬲蹖賱丕 倬蹖丿丕 讴乇丿賴 賵 丿蹖诏乇 賳馗乇蹖丕鬲 賲賮蹖丿 賵 賳賵 乇丕 亘賴 丨丕卮蹖賴 乇丕賳丿.
亘乇鬲乇蹖 鬲乇丕跇丿蹖 亘乇 丨賲丕爻賴:
丿賵賲蹖賳 丕卮鬲亘丕賴 丕乇爻胤賵 丿乇 亘乇鬲乇蹖 丿丕丿賳 鬲乇丕跇丿蹖 亘乇 丨賲丕爻賴 亘賵丿. 丌賳 賴賲 亘賴 丕蹖賳 丿賱蹖賱 讴賴 鬲乇丕跇丿蹖 毓賳丕氐乇 鬲丿丕毓蹖 诏乇 夭蹖丕丿蹖 賳爻亘鬲 亘賴 丨賲丕爻賴 丿丕乇丿. 丕诏乇 亘丕 蹖讴 賲孬丕賱 丕賲乇賵夭蹖 丕蹖賳 賲胤賱亘 乇丕 爻丕丿賴 讴賳蹖賲貙 丕蹖賳 丕爻鬲 讴賴 賮毓丕賱蹖鬲 讴鬲丕亘 禺賵丕賳丿賳 乇丕 賲孬賱丕賸 亘丕 丕蹖賳爻鬲丕诏乇丕賲 亘乇乇爻蹖 讴賳蹖賲 賵 丿乇 賳賴丕蹖鬲 丕蹖賳爻鬲丕 乇丕 亘賴鬲乇 丕夭 讴鬲丕亘 賲毓乇賮蹖 讴賳蹖賲貙 丌賳 賴賲 亘賴 禺丕胤乇 賲賵賱鬲蹖 賲丿蹖丕 亘賵丿賳 丌賳. 丕乇爻胤賵 丿乇 毓氐乇蹖 賲蹖 夭蹖爻鬲 讴賴 賳賲丕蹖卮貙 賴蹖噩丕賳 亘乇鬲乇蹖 丕夭 禺賵丕賳卮 丿丕卮鬲 賵 亘丕蹖丿 鬲丕 丨丿賵丿蹖 丕賵 乇丕 亘蹖 鬲賯氐蹖乇 亘丿丕賳蹖賲. 丕賲丕 丿乇 讴賱蹖鬲 匕賴賳 丕賵貙 賳亘丕蹖丿 丨賲丕爻賴 亘丕 鬲乇丕跇丿蹖 賲賯丕蹖爻賴 賲蹖 卮丿 賵 丿乇 孬丕賳蹖貙 賵蹖跇诏蹖 賴丕蹖 毓乇囟蹖 賵 丕讴鬲爻丕亘蹖 鬲乇丕跇丿蹖 (賳賲丕蹖卮貙 丨乇讴鬲貙 賴蹖噩丕賳貙 鬲丿丕毓蹖 賮囟丕 鈥� 夭賲丕賳蹖 賵 ...) 亘賴 毓賳賵丕賳 賲丕賴蹖鬲 丌賳 賯賱賲丿丕丿 卮丿賴 賵 亘賴 丌賳 亘乇鬲乇蹖 賲蹖 丿丕丿.
賳讴丕鬲 囟毓賮 賵 鬲賳丕賯囟 夭蹖丕丿蹖 丿乇 丕蹖賳 乇爻丕賱賴 賴賳賵夭 賱丕蹖賳丨賱 亘丕賯蹖 賲丕賳丿賴 賵 亘乇禺蹖 賳蹖夭 丕夭 丕丨鬲乇丕賲 賵 毓丕丿鬲 賲胤乇丨 賳卮丿賴 讴賴 噩丕 丿丕乇丿 賲賵乇丿 亘乇乇爻蹖 賯乇丕乇 诏蹖乇丿. 丿乇 毓蹖賳 丨丕賱 賳讴丕鬲 賯賵鬲 亘蹖 卮賲丕乇 丕蹖賳 乇爻丕賱賴 賳蹖夭 賯胤毓丕 丿乇 賲卮賴賵乇 卮丿賳 丌賳 賲賵孬乇 亘賵丿賴 賵 禺賵丕賴丿 亘賵丿.
97/10/19
卮毓乇 睾賳丕蹖蹖:
丕噩丨丕賮蹖 讴賴 亘乇 卮毓乇 睾賳丕蹖蹖 丿乇 丕蹖賳 乇爻丕賱賴 賲蹖 乇賵丿 賯丕亘賱 鬲兀賲賱 丕爻鬲. 丕乇爻胤賵 賲賵爻蹖賯蹖 乇丕 鬲丕 賲乇夭 鬲胤亘蹖賯 亘丕 丕丿亘蹖丕鬲 睾賳丕蹖蹖 倬蹖卮 賲蹖 亘乇丿 賵 賳丕诏賴丕賳 賲鬲賵噩賴 賲蹖 卮賵丿 賳亘丕蹖丿 丿乇 鬲賯爻蹖賲 亘賳丿蹖 跇丕賳乇賴丕貙 丕蹖賳 诏賵賳賴 乇丕 匕讴乇 讴賳丿貙 夭蹖乇丕 賮賳蹖 亘賴 賳丕賲 賲賵爻蹖賯蹖 噩賵乇 丌賳 乇丕 禺賵丕賴丿 讴卮蹖丿 賵 丕丿亘 睾賳丕蹖蹖 賴賲丕賳 丕丿亘 賱蹖乇蹖讴 (賱賵乇 蹖丕 賱蹖乇= 賳賵毓蹖 丌賱鬲 賲賵爻蹖賯蹖) 丕爻鬲. 丕賲丕 丕蹖賳 丕卮鬲亘丕賴 賲丨丕爻亘丕鬲蹖 鬲賳丕賯囟丕鬲 爻禺鬲蹖 丿乇 賳馗丕賲 賮讴乇蹖 丕乇爻胤賵 倬丿蹖丿 賲蹖 丌賵乇丿. 亘賴 賵蹖跇賴 讴賴 亘丕 讴賲蹖 丌诏丕賴蹖 倬蹖 賲蹖 亘乇蹖賲 丿蹖诏乇 卮丕禺賴 賴丕 賳蹖夭 亘丕 賲賵爻蹖賯蹖 丕禺鬲 賵 賴賲乇丕賴 亘賵丿賴 丕賳丿 : 鬲乇丕跇丿蹖貙 丨賲丕爻賴貙 胤賳夭. 賲诏乇 丿賱蹖賱 趩賳蹖賳 丕卮鬲亘丕賴蹖 乇丕 鬲丕孬蹖乇 賳馗丕賲 賮讴乇蹖 丕賮賱丕胤賵賳 丿乇 丕乇爻胤賵 亘丿丕賳蹖賲 賵 鬲乇爻 丕夭 鬲毓丕賱蹖賲 賮丕爻丿 賵 賲囟丕賲蹖賳 賳丕賲賳丕爻亘 賵 睾蹖乇 丕禺賱丕賯蹖 丕卮毓丕乇 睾賳丕蹖蹖.
賲鬲丕爻賮丕賳賴 亘丕 鬲乇噩賲賴 丕蹖賳 丿蹖丿诏丕賴 賴丕 賲爻賱賲丕賳丕賳 賳蹖夭 丕夭 賲讴鬲亘 丕賮賱丕胤賵賳 賵 丕乇爻胤賵 趩蹖夭蹖 噩夭 賳賯丿 丕禺賱丕賯蹖 禺賱賯 賳讴乇丿賳丿. 丨鬲蹖 鬲賵賱爻鬲賵蹖 賳蹖夭 亘賴 胤乇夭蹖 丕亘賱賴丕賳賴 丿乇 賯乇賳蹖 讴賴 丿乇 丌爻鬲丕賳踿 賵乇賵丿 亘賴 丿賳蹖丕蹖 賲丿乇賳 賴爻鬲貙 丿乇 讴鬲丕亘 芦賴賳乇 趩蹖爻鬲禄貙 禺賵丿 乇丕 丕賮賱丕胤賵賳蹖 丿蹖诏乇 丕夭 丕蹖賳 賳馗乇蹖丕鬲 賲毓乇賮蹖 賳賲賵丿. 賳賯丿 丕禺賱丕賯蹖 亘賴 胤賵乇 賵囟賵丨 丿乇 丕乇賵倬丕 賵 卮乇賯 鬲丕 趩賳丿蹖賳 賯乇賳 丕爻鬲蹖賱丕 倬蹖丿丕 讴乇丿賴 賵 丿蹖诏乇 賳馗乇蹖丕鬲 賲賮蹖丿 賵 賳賵 乇丕 亘賴 丨丕卮蹖賴 乇丕賳丿.
亘乇鬲乇蹖 鬲乇丕跇丿蹖 亘乇 丨賲丕爻賴:
丿賵賲蹖賳 丕卮鬲亘丕賴 丕乇爻胤賵 丿乇 亘乇鬲乇蹖 丿丕丿賳 鬲乇丕跇丿蹖 亘乇 丨賲丕爻賴 亘賵丿. 丌賳 賴賲 亘賴 丕蹖賳 丿賱蹖賱 讴賴 鬲乇丕跇丿蹖 毓賳丕氐乇 鬲丿丕毓蹖 诏乇 夭蹖丕丿蹖 賳爻亘鬲 亘賴 丨賲丕爻賴 丿丕乇丿. 丕诏乇 亘丕 蹖讴 賲孬丕賱 丕賲乇賵夭蹖 丕蹖賳 賲胤賱亘 乇丕 爻丕丿賴 讴賳蹖賲貙 丕蹖賳 丕爻鬲 讴賴 賮毓丕賱蹖鬲 讴鬲丕亘 禺賵丕賳丿賳 乇丕 賲孬賱丕賸 亘丕 丕蹖賳爻鬲丕诏乇丕賲 亘乇乇爻蹖 讴賳蹖賲 賵 丿乇 賳賴丕蹖鬲 丕蹖賳爻鬲丕 乇丕 亘賴鬲乇 丕夭 讴鬲丕亘 賲毓乇賮蹖 讴賳蹖賲貙 丌賳 賴賲 亘賴 禺丕胤乇 賲賵賱鬲蹖 賲丿蹖丕 亘賵丿賳 丌賳. 丕乇爻胤賵 丿乇 毓氐乇蹖 賲蹖 夭蹖爻鬲 讴賴 賳賲丕蹖卮貙 賴蹖噩丕賳 亘乇鬲乇蹖 丕夭 禺賵丕賳卮 丿丕卮鬲 賵 亘丕蹖丿 鬲丕 丨丿賵丿蹖 丕賵 乇丕 亘蹖 鬲賯氐蹖乇 亘丿丕賳蹖賲. 丕賲丕 丿乇 讴賱蹖鬲 匕賴賳 丕賵貙 賳亘丕蹖丿 丨賲丕爻賴 亘丕 鬲乇丕跇丿蹖 賲賯丕蹖爻賴 賲蹖 卮丿 賵 丿乇 孬丕賳蹖貙 賵蹖跇诏蹖 賴丕蹖 毓乇囟蹖 賵 丕讴鬲爻丕亘蹖 鬲乇丕跇丿蹖 (賳賲丕蹖卮貙 丨乇讴鬲貙 賴蹖噩丕賳貙 鬲丿丕毓蹖 賮囟丕 鈥� 夭賲丕賳蹖 賵 ...) 亘賴 毓賳賵丕賳 賲丕賴蹖鬲 丌賳 賯賱賲丿丕丿 卮丿賴 賵 亘賴 丌賳 亘乇鬲乇蹖 賲蹖 丿丕丿.
賳讴丕鬲 囟毓賮 賵 鬲賳丕賯囟 夭蹖丕丿蹖 丿乇 丕蹖賳 乇爻丕賱賴 賴賳賵夭 賱丕蹖賳丨賱 亘丕賯蹖 賲丕賳丿賴 賵 亘乇禺蹖 賳蹖夭 丕夭 丕丨鬲乇丕賲 賵 毓丕丿鬲 賲胤乇丨 賳卮丿賴 讴賴 噩丕 丿丕乇丿 賲賵乇丿 亘乇乇爻蹖 賯乇丕乇 诏蹖乇丿. 丿乇 毓蹖賳 丨丕賱 賳讴丕鬲 賯賵鬲 亘蹖 卮賲丕乇 丕蹖賳 乇爻丕賱賴 賳蹖夭 賯胤毓丕 丿乇 賲卮賴賵乇 卮丿賳 丌賳 賲賵孬乇 亘賵丿賴 賵 禺賵丕賴丿 亘賵丿.
97/10/19
February 17, 2023
I read this for The Literary Life Podcast. Fascinating ideas that spark thought and discussion. I do not think this would in any way be a modern manual for writing, although I do think there are helpful ideas which spark further thinking.
March 20, 2025
5 猸�
Aristotle鈥檚 lecture notes containing the philosophical analysis of Tragedy and Epic, the number and variety of their forms and component parts, what he perceived to be the causes of their success and failure, and his response to the criticism of a number of his contemporaries, particularly in response to Tragedy which he believed to be the superior of the two forms.
What struck me most, while reading the 鈥楶oetics鈥� was, for notes written in the latter part of the 4th Century BCE, just how 1. Accessible the work is in translation and 2. How relevant much of the information is to our modern understanding of literature/theatre.
In the time that I was reading this, I came across reference to the poetics several times in modern works; one of which was in Sol Stein鈥檚 instructive manual on writing where there were a few crossover points and if my memory serves me correctly, even an explicit throwback. Despite this relevancy and incredible influence with regard to modern writing, I wouldn鈥檛 necessarily recommend this as a manual on how to write poetry or even on how to produce dramas of any type. Aristotle鈥檚 primary drive is a desire for understanding, a philosophical pursuit. In addition, anything Aristotle has to say here has been adopted and adapted to suit our modern times in more appropriate works for that purpose; works in which (as you might expect) you can avoid some of the more antiquated/redundant ideas such as on the 鈥渁ppropriateness鈥� of characterization, about which Aristotle notes that men should not be presented as too wimpy or sentimental, nor women as too courageous or clever. There have, of course, been exceptions and I would suggest that where exceptions have been made is where you鈥檒l find some of the more compelling female characters in tragedy.
So, recommend the work I shall but primarily for those with an interest in Greek tragedy/epic who would like a depiction of what was considered the ideal form of tragedy and epic by a very intelligent individual separated a mere century from the great tragedians rather than millenia.
It鈥檚 a very short work (not least of all because some of it is missing eg. Discussion on 鈥漮rnamental nouns鈥� or epithets) and, as such, in my edition, translated and with an introduction and notes by Malcolm Heath, only roughly 30% of the book was the work of Aristotle himself, the other 70% taken up by the intro and notes. Crazy right?! But I鈥檒l admit, I wouldn鈥檛 have learned half as much through a straight reading of the 鈥楶oetics鈥�. Heath has included a pretty substantial analysis of each section (sections that he has himself designated for structure and cohesiveness) which is most beneficial in its clarification of some of Aristotle鈥檚 ambiguous terminology and to illuminate the layman reader on references made to things outside of the work itself which would鈥檝e been clear to readers of 330 BCE but not so much to us.
If you鈥檙e reading Homer or Greek tragedy at this very moment than it would be the ideal time to pick this one up. Enjoy! :)
Aristotle鈥檚 lecture notes containing the philosophical analysis of Tragedy and Epic, the number and variety of their forms and component parts, what he perceived to be the causes of their success and failure, and his response to the criticism of a number of his contemporaries, particularly in response to Tragedy which he believed to be the superior of the two forms.
What struck me most, while reading the 鈥楶oetics鈥� was, for notes written in the latter part of the 4th Century BCE, just how 1. Accessible the work is in translation and 2. How relevant much of the information is to our modern understanding of literature/theatre.
In the time that I was reading this, I came across reference to the poetics several times in modern works; one of which was in Sol Stein鈥檚 instructive manual on writing where there were a few crossover points and if my memory serves me correctly, even an explicit throwback. Despite this relevancy and incredible influence with regard to modern writing, I wouldn鈥檛 necessarily recommend this as a manual on how to write poetry or even on how to produce dramas of any type. Aristotle鈥檚 primary drive is a desire for understanding, a philosophical pursuit. In addition, anything Aristotle has to say here has been adopted and adapted to suit our modern times in more appropriate works for that purpose; works in which (as you might expect) you can avoid some of the more antiquated/redundant ideas such as on the 鈥渁ppropriateness鈥� of characterization, about which Aristotle notes that men should not be presented as too wimpy or sentimental, nor women as too courageous or clever. There have, of course, been exceptions and I would suggest that where exceptions have been made is where you鈥檒l find some of the more compelling female characters in tragedy.
So, recommend the work I shall but primarily for those with an interest in Greek tragedy/epic who would like a depiction of what was considered the ideal form of tragedy and epic by a very intelligent individual separated a mere century from the great tragedians rather than millenia.
It鈥檚 a very short work (not least of all because some of it is missing eg. Discussion on 鈥漮rnamental nouns鈥� or epithets) and, as such, in my edition, translated and with an introduction and notes by Malcolm Heath, only roughly 30% of the book was the work of Aristotle himself, the other 70% taken up by the intro and notes. Crazy right?! But I鈥檒l admit, I wouldn鈥檛 have learned half as much through a straight reading of the 鈥楶oetics鈥�. Heath has included a pretty substantial analysis of each section (sections that he has himself designated for structure and cohesiveness) which is most beneficial in its clarification of some of Aristotle鈥檚 ambiguous terminology and to illuminate the layman reader on references made to things outside of the work itself which would鈥檝e been clear to readers of 330 BCE but not so much to us.
If you鈥檙e reading Homer or Greek tragedy at this very moment than it would be the ideal time to pick this one up. Enjoy! :)
January 21, 2015
This is the best commentary I could find on The Poetics. Bywater's is a much better translation and immensely readable, except for the places where he employs the Greek without transliteration. A good strategy could be to keep to Bywater for a first read, and then use Whalley's idiosyncratic and 'deliberately clumsy' translation while studying his notes. We can even supplement it with the Lucas notes.
The best essay length criticism can be had from Lucas and Else, both of which are referred to often by Whalley. I am planning to read at least one of them soon.
Whalley's comparisons with Coleridge is particularly useful if the reader is interested in learning to think about how Aristotle's percepts can be made to fit modern literary works.
Also his approach is no to treat every word A. uses as a technical term, which is an unfortunate tendency of most academic works. So we usually end up talking very particularly about terms which Aristotle probably wanted to give a wider ambit to. This is when it becomes easy to lapse into thinking that Aristotle is too formalistic and hence dismissing him. That would be poor form for a student.
February 2, 2023
This is very very good. I didn't come close to comprehending the fullness of it, but the first time through means the second will be better.
I was surprised by the Aristotle - it wasn't what I expected although my expectations were perhaps a bit amorphous. The nitty gritty of words and syllables themselves to the structure and plot development was more comprehensive than anticipated.
The essays included at the end were helpful. I particularly enjoyed the Sidney and the Sayers (and was somewhat baffled by Shelley) ... but Sidney's discussion of the historian-philosopher-poet is excellent (if a little challenging, again a second read will be helpful). Sayers' application of the pieces of the Aristotle to detective fiction were insightful and helpful in understanding what had passed before (plus, she's a clear 20th Century writer whose subjects - Holmes, Wimsey, Poirot - were familiar). It helps to understand the Aristotle as a framework or paradigm, not necessarily a set of precepts or hard and fast rules / laws.
I read this book in my "Inspired by The Great Tradition" category of the Schol茅 Sisters 5x5 challenge. On to Augustine On Christian Teaching.
2023: The Audiobook was just to help me remember some of what was in the book, but a vastly inferior way of interacting with the text.
I was surprised by the Aristotle - it wasn't what I expected although my expectations were perhaps a bit amorphous. The nitty gritty of words and syllables themselves to the structure and plot development was more comprehensive than anticipated.
The essays included at the end were helpful. I particularly enjoyed the Sidney and the Sayers (and was somewhat baffled by Shelley) ... but Sidney's discussion of the historian-philosopher-poet is excellent (if a little challenging, again a second read will be helpful). Sayers' application of the pieces of the Aristotle to detective fiction were insightful and helpful in understanding what had passed before (plus, she's a clear 20th Century writer whose subjects - Holmes, Wimsey, Poirot - were familiar). It helps to understand the Aristotle as a framework or paradigm, not necessarily a set of precepts or hard and fast rules / laws.
I read this book in my "Inspired by The Great Tradition" category of the Schol茅 Sisters 5x5 challenge. On to Augustine On Christian Teaching.
2023: The Audiobook was just to help me remember some of what was in the book, but a vastly inferior way of interacting with the text.
March 7, 2023
Reading Poetics, it very quickly becomes apparent to anyone familiar with narrative structure that this book was highly influential throughout the ages. We continue to dissect narratives exactly as laid out in this book, and I would say that for someone wanting to better understand "the rules" of a proper narrative there is no better place to start than this book. Although Aristotle is dealing mostly with Tragedy and Epic poetry many of these ideas are universal and can be used as a reference to most narrative forms more broadly.
This was my first dive into Aristotle, and I feel that it was a good place to start. It was short and easy to understand. I only wish that I had read more of the works that he is referring to. Especially Sophocles' Oedipus Rex as it is referred to the most often aside from Homer's works.
What I found most intriguing was the differences between Aristotle and Plato on this subject. For Plato, art is an imitation of an imitation (reality the imitation of the world of forms and art the imitation of reality) which removes art more distantly than reality from the truth. Aristotle seems to be saying something quite different in Poetics. That poetry and what we can take to infer more broadly as art in general is a 鈥渂asic human, and therefore universal, experience.鈥� Aristotle claims that poetry "...is a more philosophical and higher thing than history: for poetry tends to express the universal, history the particular.鈥� These views contrast most heavily in whether or not we can use art to understand truth. On a moral level, Plato and Aristotle are again in opposition. Plato as evidenced in both The Ion and The Republic adheres to a view that art should be useful and helpful to a society. That distasteful artforms could potentially be harmful to a society by stirring emotions that could be detrimental to the society at large. Whereas Aristotle thinks that the distasteful artforms (those that stir up emotions of hatred, vengeance, lust, etc.) are helpful to a society as a sort of venting mechanism.
This was my first dive into Aristotle, and I feel that it was a good place to start. It was short and easy to understand. I only wish that I had read more of the works that he is referring to. Especially Sophocles' Oedipus Rex as it is referred to the most often aside from Homer's works.
What I found most intriguing was the differences between Aristotle and Plato on this subject. For Plato, art is an imitation of an imitation (reality the imitation of the world of forms and art the imitation of reality) which removes art more distantly than reality from the truth. Aristotle seems to be saying something quite different in Poetics. That poetry and what we can take to infer more broadly as art in general is a 鈥渂asic human, and therefore universal, experience.鈥� Aristotle claims that poetry "...is a more philosophical and higher thing than history: for poetry tends to express the universal, history the particular.鈥� These views contrast most heavily in whether or not we can use art to understand truth. On a moral level, Plato and Aristotle are again in opposition. Plato as evidenced in both The Ion and The Republic adheres to a view that art should be useful and helpful to a society. That distasteful artforms could potentially be harmful to a society by stirring emotions that could be detrimental to the society at large. Whereas Aristotle thinks that the distasteful artforms (those that stir up emotions of hatred, vengeance, lust, etc.) are helpful to a society as a sort of venting mechanism.
January 15, 2013
There's something terribly edifying when, having created your own rubric for how books should be judged, you happen to pick up the work from which all literary criticism arose and find that you and Aristotle have independently produced the same system for judgment. I know it probably just trickled down to me through cultural osmosis, but it does give me hope that I'm putting the pieces together properly.
October 5, 2018
鈥庁堌池з嗁� 诏乇丕賳賯丿乇貙 丕蹖賳 讴鬲丕亘賽 讴賴賳貙 丕夭 26 亘禺卮賽 诏賵賳丕诏賵賳 鬲卮讴蹖賱 卮丿賴 丕爻鬲 讴賴 丿乇 賴乇 亘禺卮貙 丕乇爻胤賵 亘賴 鬲賵囟蹖丨 賵 卮乇丨賽 丕賳賵丕毓賽 卮毓乇 賵 丿丕爻鬲丕賳 爻乇丕蹖蹖 丿乇 丌賳 丿賵乇丕賳 倬乇丿丕禺鬲賴 丕爻鬲
鈥庁ㄙ� 丕賳鬲禺丕亘 丿乇 夭蹖乇 亘禺卮 賴丕蹖蹖 丕夭 丕蹖賳 讴鬲丕亘 乇丕 亘乇丕蹖賽 卮賲丕 丕丿亘 丿賵爻鬲丕賳賽 诏乇丕賲蹖 賲蹖賳賵蹖爻賲
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鈥庁蹿┷� 賳蹖爻鬲 讴賴 丕孬乇賽 卮丕毓乇 丕夭 丌賳 趩蹖夭蹖 讴賴 丕鬲賮丕賯 丕賮鬲丕丿賴 丕爻鬲貙 亘丨孬 賳賲蹖讴賳丿.. 亘賱讴賴 丕夭 丌賳 趩蹖夭蹖 爻禺賳 賲蹖诏賵蹖丿 讴賴 賵賯賵毓賽 丌賳 亘乇 丨爻亘賽 囟乇賵乇鬲 蹖丕 丨賯蹖賯鬲 賳賲丕蹖蹖貙 丕賲讴丕賳 丿丕乇丿... 蹖毓賳蹖 賮乇賯賽 卮丕毓乇 賵 賲賵乇禺 丿乇 丕蹖賳 賳蹖爻鬲 讴賴 丕賵賱蹖 诏賮鬲賴 丕卮 賲賳馗賵賲 亘丕卮丿 賵 丿賵賲蹖 賲賳孬賵乇.. 亘賱讴賴 賮乇賯賽 丕氐賱蹖 丌賳賴丕 丕蹖賳 丕爻鬲 讴賴 賲賵乇禺 丕夭 丌賳趩賴 丕鬲賮丕賯 丕賮鬲丕丿賴 丕爻鬲 亘丨孬 賲蹖讴賳丿 賵 卮丕毓乇 丕夭 丌賳趩賴 賲蹖鬲賵丕賳爻鬲 丕鬲賮丕賯 亘蹖賮鬲丿貙 爻禺賳 賲蹖诏賵蹖丿... 卮毓乇 倬蹖賵爻鬲賴 丕夭 讴賱蹖丕鬲 亘丨孬 賲蹖讴賳丿 賵 鬲丕乇蹖禺 丕夭 噩夭卅蹖丕鬲 爻禺賳 賲蹖诏賵蹖丿.. 讴賱賾蹖 丌賳 趩蹖夭蹖 丕爻鬲 讴賴 賴乇讴爻蹖 賲胤丕亘賯賽 賲卮禺氐丕鬲賽 乇賵丕賳賽 禺賵丿 賵 亘乇 丨爻亘賽 囟乇賵乇蹖丕鬲 蹖丕 丨賯蹖賯鬲 賳賲丕蹖蹖 賲蹖鬲賵丕賳丿 丌賳 乇丕 亘诏賵蹖丿 賵 蹖丕 丕賳噩丕賲 丿賴丿.. 卮毓乇 亘乇 乇賵蹖賽 丕蹖賳 夭賲蹖賳賴貙 賳丕賲蹖 禺丕氐 賲蹖诏匕丕乇丿.. 賵 丨丕賱鬲賽 噩夭卅蹖賽 丌賳 趩蹖夭蹖 丕爻鬲 讴賴 賲孬賱丕賸 " 丌賱讴蹖亘蹖丕丿" 丕賳噩丕賲 丿丕丿賴 丕爻鬲貙 蹖丕 賳爻亘鬲 亘賴 丕賵 丕毓賲丕賱 讴乇丿賴 丕賳丿
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鈥庁佖з堌� 賲乇丿賲貙 賴賲賴 丿乇 賳蹖讴賵讴丕乇蹖 賵 亘丿讴丕乇蹖 丕爻鬲.. 賵賱蹖 讴爻丕賳蹖 乇丕 讴賴 卮丕毓乇丕賳 賵氐賮 賲蹖讴賳賳丿貙 蹖丕 丕夭 丨蹖孬賽 爻蹖乇鬲貙 丌賳賴丕 乇丕 亘乇鬲乇 丕夭 丌賳趩賴 賴爻鬲賳丿貙 鬲賵氐蹖賮 賲蹖讴賳賳丿貙 蹖丕 賮乇賵鬲乇 丕夭 丌賳趩賴 賴爻鬲賳丿 賵 蹖丕 丌賳賴丕 乇丕 亘賴 丨丿賽 賲蹖丕賳賴 賵氐賮 賲蹖讴賳賳丿 賵 丿乇 丕蹖賳 亘丕亘貙 卮丕毓乇丕賳 賴賲趩賵賳 賳賯丕卮賴丕 賴爻鬲賳丿 賵 丕蹖賳 賲賵丕乇丿 丕爻鬲 讴賴 賲孬賱丕賸 鬲乇丕跇丿蹖 乇丕 丕夭 讴賲丿蹖 噩丿丕 賲蹖爻丕夭丿
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鈥庂堌� 賲賵囟賵毓 亘賴 賴蹖趩 賵噩賴 亘丕 丕賳鬲禺丕亘賽 蹖讴 鬲賳 亘賴 毓賳賵丕賳賽 賯賴乇賲丕賳賽 丿丕爻鬲丕賳 亘賴 賵噩賵丿 賳賲蹖 丌蹖丿貙 夭蹖乇丕 丿乇 夭賳丿诏蹖賽 蹖讴 卮禺氐貙 賲賲讴賳 丕爻鬲 趩賳丿蹖賳 丨丕丿孬賴贁 诏賵賳丕诏賵賳 乇賵蹖 丿賴丿.. 丕夭 爻賵蹖賽 丿蹖诏乇貙 丕賮爻丕賳賴 賮賯胤 亘丕蹖丿 蹖讴 丨丕丿孬賴 賵 賲賵囟賵毓賽 讴丕賲賱 乇丕 亘蹖丕賳 讴賳丿.. 賴賲賴贁 賯爻賲鬲賴丕蹖賽 丕蹖賳 賲賵囟賵毓 丌賳趩賳丕賳 亘丕蹖丿 丿乇 讴賳丕乇賽 蹖讴丿蹖诏乇 趩蹖丿賴 卮賵賳丿 賵 趩賳丕賳 賵丨丿鬲蹖 鬲卮讴蹖賱 丿賴丿 讴賴 讴賵趩讴鬲乇蹖賳 賯爻賲鬲蹖 丕夭 丌賳 乇丕 賳鬲賵丕賳 鬲睾蹖蹖乇 丿丕丿 賵 蹖丕 丨匕賮 讴乇丿貙 夭蹖乇丕 丌賳 賲囟賲賵賳蹖 讴賴 賴賲 亘鬲賵丕賳 丿乇 賲胤賱亘蹖 賵丕乇丿 讴乇丿 賵 賴賲 亘丿賵賳賽 賱胤賲賴 禺賵乇丿賳 亘賴 賲胤賱亘 丕夭 丌賳 丨匕賮 讴乇丿貙 噩夭賵賽 丌賳 賲胤賱亘 賳蹖爻鬲
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鈥庁必и権� 毓亘丕乇鬲 丕爻鬲 丕夭 鬲賯賱蹖丿賽 蹖讴 丨丕丿孬賴贁 噩丿蹖 賵 讴丕賲賱 賵 丿丕乇丕蹖賽 賵爻毓鬲賽 賲毓蹖賳貙 亘丕 亘蹖丕賳蹖 夭蹖亘丕 讴賴 夭蹖亘丕蹖蹖賽 丌賳 丿乇 鬲賲丕賲賽 亘禺卮賴丕 亘賴 蹖讴 丕賳丿丕夭賴 亘丕卮丿 賵 丿丕乇丕蹖賽 卮讴賱賽 賳賲丕蹖卮 亘賵丿賴 賵 亘賴 氐賵乇鬲賽 丿丕爻鬲丕賳 賵 丨讴丕蹖鬲 亘蹖丕賳 賳卮賵丿 賵 亘丕 丕爻鬲賮丕丿賴 丕夭 賵丨卮鬲 賵 鬲乇丨賲貙 毓賵丕胤賮賽 賲乇丿賲 乇丕 倬丕讴 爻丕夭丿
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鈥庁必и権� 賲蹖讴賵卮丿 鬲丕 噩丕蹖蹖 讴賴 丕賲讴丕賳 丿丕乇丿貙 禺賵丿 乇丕 丿乇 蹖讴 卮亘丕賳賴 乇賵夭 賲丨氐賵乇 讴賳丿 賵 蹖丕 丨丿丕賯賱 丕夭 丕蹖賳 丨丿賵丿 鬲噩丕賵夭 賳讴賳丿
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鈥庂傎囏辟呚з嗁� 鬲乇丕跇丿蹖 賳亘丕蹖丿 噩賳丕蹖鬲讴丕乇 亘丕卮丿貙 丿乇囟賲賳 賱丕夭賲 賳蹖爻鬲 亘爻蹖丕乇 倬乇賴蹖夭讴丕乇 賵 丿乇爻鬲讴丕乇 亘丕卮丿.. 亘丕蹖丿 丕夭 禺賵卮亘禺鬲蹖 亘賴 鬲蹖乇賴 乇賵夭蹖 丕賮鬲丕丿賴 亘丕卮丿貙 賵賱蹖 賳賴 亘乇 丕孬乇賽 噩賳丕蹖鬲貙 亘賱讴賴 丿乇 賳鬲蹖噩賴贁 蹖讴 丕卮鬲亘丕賴 亘丕蹖丿 丕蹖噩丕丿賽 鬲乇爻 賵 鬲乇丨賲 讴賳丿... 賯賴乇賲丕賳賽 鬲乇丕跇丿蹖 亘丕蹖丿 亘丕 丕卮禺丕氐蹖 讴賴 賯胤亘賽 賲賯丕亘賱賽 丕賵 乇丕 丿乇 鬲乇丕跇丿蹖 鬲卮讴蹖賱 賲蹖丿賴賳丿貙 乇丕亘胤賴贁 禺丕賳賵丕丿诏蹖 賵 蹖丕 丕丨爻丕爻蹖貙 丿丕卮鬲賴 亘丕卮丿
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鈥庁池ㄚ┵� 讴賲丿蹖貙 鬲賯賱蹖丿蹖 丕夭 诏賮鬲丕乇 賵 乇賮鬲丕乇賽 夭卮鬲 丕爻鬲.. 賳賴 丕蹖賳讴賴 鬲賵氐蹖賮 賵 鬲賯賱蹖丿 丕夭 亘丿鬲乇蹖賳 氐賮丕鬲賽 丕賳爻丕賳 亘丕卮丿貙 亘賱讴賴 賮賯胤 鬲賯賱蹖丿 賵 鬲賵氐蹖賮賽 丕毓賲丕賱 賵 丕禺賱丕賯賽 卮乇賲 丌賵乇蹖 丕爻鬲 讴賴 賲賵噩亘賽 乇蹖卮禺賳丿賽 丿蹖诏乇丕賳 賲蹖卮賵丿.. 丌賳趩賴 賲賵噩亘賽 乇蹖卮禺賳丿 賲蹖卮賵丿貙 丕賲乇蹖 丕爻鬲 讴賴 丿乇 丌賳 毓蹖亘 賵 夭卮鬲蹖 賲蹖亘丕卮丿貙 賵賱蹖 丌夭丕乇 賵 诏夭賳丿蹖 丕夭 丌賳 毓蹖亘 賵 夭卮鬲蹖 亘賴 讴爻蹖 賳賲蹖乇爻丿
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 丿乇 噩賴鬲賽 卮賳丕禺鬲賽 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
鈥庁ㄙ� 丕賳鬲禺丕亘 丿乇 夭蹖乇 亘禺卮 賴丕蹖蹖 丕夭 丕蹖賳 讴鬲丕亘 乇丕 亘乇丕蹖賽 卮賲丕 丕丿亘 丿賵爻鬲丕賳賽 诏乇丕賲蹖 賲蹖賳賵蹖爻賲
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鈥庁蹿┷� 賳蹖爻鬲 讴賴 丕孬乇賽 卮丕毓乇 丕夭 丌賳 趩蹖夭蹖 讴賴 丕鬲賮丕賯 丕賮鬲丕丿賴 丕爻鬲貙 亘丨孬 賳賲蹖讴賳丿.. 亘賱讴賴 丕夭 丌賳 趩蹖夭蹖 爻禺賳 賲蹖诏賵蹖丿 讴賴 賵賯賵毓賽 丌賳 亘乇 丨爻亘賽 囟乇賵乇鬲 蹖丕 丨賯蹖賯鬲 賳賲丕蹖蹖貙 丕賲讴丕賳 丿丕乇丿... 蹖毓賳蹖 賮乇賯賽 卮丕毓乇 賵 賲賵乇禺 丿乇 丕蹖賳 賳蹖爻鬲 讴賴 丕賵賱蹖 诏賮鬲賴 丕卮 賲賳馗賵賲 亘丕卮丿 賵 丿賵賲蹖 賲賳孬賵乇.. 亘賱讴賴 賮乇賯賽 丕氐賱蹖 丌賳賴丕 丕蹖賳 丕爻鬲 讴賴 賲賵乇禺 丕夭 丌賳趩賴 丕鬲賮丕賯 丕賮鬲丕丿賴 丕爻鬲 亘丨孬 賲蹖讴賳丿 賵 卮丕毓乇 丕夭 丌賳趩賴 賲蹖鬲賵丕賳爻鬲 丕鬲賮丕賯 亘蹖賮鬲丿貙 爻禺賳 賲蹖诏賵蹖丿... 卮毓乇 倬蹖賵爻鬲賴 丕夭 讴賱蹖丕鬲 亘丨孬 賲蹖讴賳丿 賵 鬲丕乇蹖禺 丕夭 噩夭卅蹖丕鬲 爻禺賳 賲蹖诏賵蹖丿.. 讴賱賾蹖 丌賳 趩蹖夭蹖 丕爻鬲 讴賴 賴乇讴爻蹖 賲胤丕亘賯賽 賲卮禺氐丕鬲賽 乇賵丕賳賽 禺賵丿 賵 亘乇 丨爻亘賽 囟乇賵乇蹖丕鬲 蹖丕 丨賯蹖賯鬲 賳賲丕蹖蹖 賲蹖鬲賵丕賳丿 丌賳 乇丕 亘诏賵蹖丿 賵 蹖丕 丕賳噩丕賲 丿賴丿.. 卮毓乇 亘乇 乇賵蹖賽 丕蹖賳 夭賲蹖賳賴貙 賳丕賲蹖 禺丕氐 賲蹖诏匕丕乇丿.. 賵 丨丕賱鬲賽 噩夭卅蹖賽 丌賳 趩蹖夭蹖 丕爻鬲 讴賴 賲孬賱丕賸 " 丌賱讴蹖亘蹖丕丿" 丕賳噩丕賲 丿丕丿賴 丕爻鬲貙 蹖丕 賳爻亘鬲 亘賴 丕賵 丕毓賲丕賱 讴乇丿賴 丕賳丿
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鈥庁佖з堌� 賲乇丿賲貙 賴賲賴 丿乇 賳蹖讴賵讴丕乇蹖 賵 亘丿讴丕乇蹖 丕爻鬲.. 賵賱蹖 讴爻丕賳蹖 乇丕 讴賴 卮丕毓乇丕賳 賵氐賮 賲蹖讴賳賳丿貙 蹖丕 丕夭 丨蹖孬賽 爻蹖乇鬲貙 丌賳賴丕 乇丕 亘乇鬲乇 丕夭 丌賳趩賴 賴爻鬲賳丿貙 鬲賵氐蹖賮 賲蹖讴賳賳丿貙 蹖丕 賮乇賵鬲乇 丕夭 丌賳趩賴 賴爻鬲賳丿 賵 蹖丕 丌賳賴丕 乇丕 亘賴 丨丿賽 賲蹖丕賳賴 賵氐賮 賲蹖讴賳賳丿 賵 丿乇 丕蹖賳 亘丕亘貙 卮丕毓乇丕賳 賴賲趩賵賳 賳賯丕卮賴丕 賴爻鬲賳丿 賵 丕蹖賳 賲賵丕乇丿 丕爻鬲 讴賴 賲孬賱丕賸 鬲乇丕跇丿蹖 乇丕 丕夭 讴賲丿蹖 噩丿丕 賲蹖爻丕夭丿
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鈥庂堌� 賲賵囟賵毓 亘賴 賴蹖趩 賵噩賴 亘丕 丕賳鬲禺丕亘賽 蹖讴 鬲賳 亘賴 毓賳賵丕賳賽 賯賴乇賲丕賳賽 丿丕爻鬲丕賳 亘賴 賵噩賵丿 賳賲蹖 丌蹖丿貙 夭蹖乇丕 丿乇 夭賳丿诏蹖賽 蹖讴 卮禺氐貙 賲賲讴賳 丕爻鬲 趩賳丿蹖賳 丨丕丿孬賴贁 诏賵賳丕诏賵賳 乇賵蹖 丿賴丿.. 丕夭 爻賵蹖賽 丿蹖诏乇貙 丕賮爻丕賳賴 賮賯胤 亘丕蹖丿 蹖讴 丨丕丿孬賴 賵 賲賵囟賵毓賽 讴丕賲賱 乇丕 亘蹖丕賳 讴賳丿.. 賴賲賴贁 賯爻賲鬲賴丕蹖賽 丕蹖賳 賲賵囟賵毓 丌賳趩賳丕賳 亘丕蹖丿 丿乇 讴賳丕乇賽 蹖讴丿蹖诏乇 趩蹖丿賴 卮賵賳丿 賵 趩賳丕賳 賵丨丿鬲蹖 鬲卮讴蹖賱 丿賴丿 讴賴 讴賵趩讴鬲乇蹖賳 賯爻賲鬲蹖 丕夭 丌賳 乇丕 賳鬲賵丕賳 鬲睾蹖蹖乇 丿丕丿 賵 蹖丕 丨匕賮 讴乇丿貙 夭蹖乇丕 丌賳 賲囟賲賵賳蹖 讴賴 賴賲 亘鬲賵丕賳 丿乇 賲胤賱亘蹖 賵丕乇丿 讴乇丿 賵 賴賲 亘丿賵賳賽 賱胤賲賴 禺賵乇丿賳 亘賴 賲胤賱亘 丕夭 丌賳 丨匕賮 讴乇丿貙 噩夭賵賽 丌賳 賲胤賱亘 賳蹖爻鬲
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鈥庁必и権� 毓亘丕乇鬲 丕爻鬲 丕夭 鬲賯賱蹖丿賽 蹖讴 丨丕丿孬賴贁 噩丿蹖 賵 讴丕賲賱 賵 丿丕乇丕蹖賽 賵爻毓鬲賽 賲毓蹖賳貙 亘丕 亘蹖丕賳蹖 夭蹖亘丕 讴賴 夭蹖亘丕蹖蹖賽 丌賳 丿乇 鬲賲丕賲賽 亘禺卮賴丕 亘賴 蹖讴 丕賳丿丕夭賴 亘丕卮丿 賵 丿丕乇丕蹖賽 卮讴賱賽 賳賲丕蹖卮 亘賵丿賴 賵 亘賴 氐賵乇鬲賽 丿丕爻鬲丕賳 賵 丨讴丕蹖鬲 亘蹖丕賳 賳卮賵丿 賵 亘丕 丕爻鬲賮丕丿賴 丕夭 賵丨卮鬲 賵 鬲乇丨賲貙 毓賵丕胤賮賽 賲乇丿賲 乇丕 倬丕讴 爻丕夭丿
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鈥庁必и権� 賲蹖讴賵卮丿 鬲丕 噩丕蹖蹖 讴賴 丕賲讴丕賳 丿丕乇丿貙 禺賵丿 乇丕 丿乇 蹖讴 卮亘丕賳賴 乇賵夭 賲丨氐賵乇 讴賳丿 賵 蹖丕 丨丿丕賯賱 丕夭 丕蹖賳 丨丿賵丿 鬲噩丕賵夭 賳讴賳丿
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鈥庂傎囏辟呚з嗁� 鬲乇丕跇丿蹖 賳亘丕蹖丿 噩賳丕蹖鬲讴丕乇 亘丕卮丿貙 丿乇囟賲賳 賱丕夭賲 賳蹖爻鬲 亘爻蹖丕乇 倬乇賴蹖夭讴丕乇 賵 丿乇爻鬲讴丕乇 亘丕卮丿.. 亘丕蹖丿 丕夭 禺賵卮亘禺鬲蹖 亘賴 鬲蹖乇賴 乇賵夭蹖 丕賮鬲丕丿賴 亘丕卮丿貙 賵賱蹖 賳賴 亘乇 丕孬乇賽 噩賳丕蹖鬲貙 亘賱讴賴 丿乇 賳鬲蹖噩賴贁 蹖讴 丕卮鬲亘丕賴 亘丕蹖丿 丕蹖噩丕丿賽 鬲乇爻 賵 鬲乇丨賲 讴賳丿... 賯賴乇賲丕賳賽 鬲乇丕跇丿蹖 亘丕蹖丿 亘丕 丕卮禺丕氐蹖 讴賴 賯胤亘賽 賲賯丕亘賱賽 丕賵 乇丕 丿乇 鬲乇丕跇丿蹖 鬲卮讴蹖賱 賲蹖丿賴賳丿貙 乇丕亘胤賴贁 禺丕賳賵丕丿诏蹖 賵 蹖丕 丕丨爻丕爻蹖貙 丿丕卮鬲賴 亘丕卮丿
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鈥庁池ㄚ┵� 讴賲丿蹖貙 鬲賯賱蹖丿蹖 丕夭 诏賮鬲丕乇 賵 乇賮鬲丕乇賽 夭卮鬲 丕爻鬲.. 賳賴 丕蹖賳讴賴 鬲賵氐蹖賮 賵 鬲賯賱蹖丿 丕夭 亘丿鬲乇蹖賳 氐賮丕鬲賽 丕賳爻丕賳 亘丕卮丿貙 亘賱讴賴 賮賯胤 鬲賯賱蹖丿 賵 鬲賵氐蹖賮賽 丕毓賲丕賱 賵 丕禺賱丕賯賽 卮乇賲 丌賵乇蹖 丕爻鬲 讴賴 賲賵噩亘賽 乇蹖卮禺賳丿賽 丿蹖诏乇丕賳 賲蹖卮賵丿.. 丌賳趩賴 賲賵噩亘賽 乇蹖卮禺賳丿 賲蹖卮賵丿貙 丕賲乇蹖 丕爻鬲 讴賴 丿乇 丌賳 毓蹖亘 賵 夭卮鬲蹖 賲蹖亘丕卮丿貙 賵賱蹖 丌夭丕乇 賵 诏夭賳丿蹖 丕夭 丌賳 毓蹖亘 賵 夭卮鬲蹖 亘賴 讴爻蹖 賳賲蹖乇爻丿
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鈥庁з呟屫堌ж辟� 丕蹖賳 乇蹖賵蹖賵 丿乇 噩賴鬲賽 卮賳丕禺鬲賽 丕蹖賳 讴鬲丕亘貙 讴丕賮蹖 賵 賲賮蹖丿 亘賵丿賴 亘丕卮賴
鈥�<倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖>
January 24, 2021
"Homer has taught the others the proper way of telling lies.... What is convincing though impossible should always be preferred to what is possible and unconvincing."
Aristotle's Poetics caught me completely by surprise. I didn't expect to be confronted with ideas so modern and relatable, nor so heartfelt. I didn't expect Aristotle to basically be a Homer fanboy nor to voice (writing 2300 years ago!) such opinions and complaints as you would easily find in any 欧宝娱乐 review. Among the points that he makes, in no particular order:
鈥� It's annoying and aesthetically displeasing when characters go OOC (out of character) and behave inconsistently with themselves.
鈥� Things that work in one mode of storytelling (e.g. epic poetry) don't necessarily work in another (e.g. tragedy), and events can feel tragic or ridiculous according to how they are represented.
鈥� He even argues against fanservice (this one had me like, no way), saying that poets (by which he meant playwrights and composers of epic poetry) who write to satisfy their spectators often end up with weak plots.
鈥� It's a cheap narrative trick to abuse dei ex machina to conveniently resolve an irreparably tangled-up narrative situation.
鈥� All the scenes of the narrative should be useful to the overall goal of the story and consistent with its main focus.
鈥� It's a pity that many authors know how to set up a good plot, but then have no idea how to untangle it.
鈥� Plot twists (which he indicates as anagnorisis and peripateia, revelations and reversals of fortune) should arise naturally from the events that are being told, and the hand of the author should not be too visible--i.e., the plot should not feel forced.
鈥� Which also translates into the fact that the telling should never obfuscate the showing.
I mean, what have we even done these past 2300 years? What are we raging against bad books and poor plots for? Aristotle has already said it all.
NB: Just for the record, I'm not saying that these points are unbreakable rules that must necessarily be respected in all types of narrative, just that contemporary readers, especially when dealing with literature/film/stories in any medium with a view to being entertained, in general sympathize very strongly with these principles.
Aristotle's Poetics caught me completely by surprise. I didn't expect to be confronted with ideas so modern and relatable, nor so heartfelt. I didn't expect Aristotle to basically be a Homer fanboy nor to voice (writing 2300 years ago!) such opinions and complaints as you would easily find in any 欧宝娱乐 review. Among the points that he makes, in no particular order:
鈥� It's annoying and aesthetically displeasing when characters go OOC (out of character) and behave inconsistently with themselves.
鈥� Things that work in one mode of storytelling (e.g. epic poetry) don't necessarily work in another (e.g. tragedy), and events can feel tragic or ridiculous according to how they are represented.
鈥� He even argues against fanservice (this one had me like, no way), saying that poets (by which he meant playwrights and composers of epic poetry) who write to satisfy their spectators often end up with weak plots.
鈥� It's a cheap narrative trick to abuse dei ex machina to conveniently resolve an irreparably tangled-up narrative situation.
鈥� All the scenes of the narrative should be useful to the overall goal of the story and consistent with its main focus.
鈥� It's a pity that many authors know how to set up a good plot, but then have no idea how to untangle it.
鈥� Plot twists (which he indicates as anagnorisis and peripateia, revelations and reversals of fortune) should arise naturally from the events that are being told, and the hand of the author should not be too visible--i.e., the plot should not feel forced.
鈥� Which also translates into the fact that the telling should never obfuscate the showing.
I mean, what have we even done these past 2300 years? What are we raging against bad books and poor plots for? Aristotle has already said it all.
NB: Just for the record, I'm not saying that these points are unbreakable rules that must necessarily be respected in all types of narrative, just that contemporary readers, especially when dealing with literature/film/stories in any medium with a view to being entertained, in general sympathize very strongly with these principles.
April 8, 2018
Poetics is the earliest known work of literary criticism. This copy was laid out in lecture note form. Aristotle gives his views on tragedy, the plot, the characters and the content, and then it is compared to epic poetry. Content wise, I think this book is great, but it was just so very boring! I found the parts with the ancient Greek language particularly difficult to read and analyse.
March 29, 2025
亘夭乇诏鬲乇蹖賳 賲卮讴賱 讴鬲丕亘 丕蹖賳賴 讴賴 賲亘鬲賳蹖 亘乇 賱睾鬲鈥屫促嗀ж驰� 賵 鬲乇噩賲賴 夭乇蹖賳鈥屭┵堌� 丕夭 亘賵胤蹖賯丕蹖 丕乇爻胤賵 爻鬲.
鬲乇噩賲賴贁 夭乇蹖賳鈥屭┵堌� 賵丕賯毓丕 禺賵亘 賳蹖爻鬲 賵 鬲丨賯蹖賯丕 亘丕毓孬 趩倬賴 賮賴賲蹖丿賳 亘賵胤蹖賯丕蹖 丕乇爻胤賵 賲蹖鈥屫促�.
丿乇 囟賲賳貙 丕蹖賳 讴鬲丕亘 賲禺鬲氐乇 丿乇 賲賵乇丿 "丕乇爻胤賵" 賳蹖爻鬲 亘賱讴賴 丿乇 賲賵乇丿 賮賳 卮毓乇 蹖丕 亘賵胤蹖賯丕 爻鬲 讴賴 鬲賵蹖 趩丕倬鈥屬囏й� 噩丿蹖丿 讴鬲丕亘 乇賵蹖 噩賱丿 賵 鬲賵囟蹖丨丕鬲 卮賳丕爻賳丕賲賴鈥屫й� 讴鬲丕亘 賯蹖丿 賳卮丿賴 讴賴 讴鬲丕亘 賮賯胤 丿乇 賲賵乇丿 亘賵胤蹖賯丕 爻鬲.
禺賵丿賲 丕賵賱卮 賮讴乇 讴乇丿賲 蹖賴 賲賯丿賲賴 亘賴 丕乇爻胤賵 爻鬲 禺乇蹖丿賲 讴鬲丕亘 乇賵 讴賴 禺亘貙 丕卮鬲亘丕賴 賲蹖鈥屭┴必�.
丕賱亘鬲賴 丕蹖賳 丕卮鬲亘丕賴 爻亘亘 禺蹖乇 卮丿 趩賵賳 丕禺蹖乇丕 亘賵胤蹖賯丕 乇賵 禺賵賳丿賲 賵 讴賲讴 鬲賯乇蹖亘丕 禺賵亘蹖 亘賵丿 丕蹖賳 讴鬲丕亘.
鬲乇噩賲賴贁 夭乇蹖賳鈥屭┵堌� 賵丕賯毓丕 禺賵亘 賳蹖爻鬲 賵 鬲丨賯蹖賯丕 亘丕毓孬 趩倬賴 賮賴賲蹖丿賳 亘賵胤蹖賯丕蹖 丕乇爻胤賵 賲蹖鈥屫促�.
丿乇 囟賲賳貙 丕蹖賳 讴鬲丕亘 賲禺鬲氐乇 丿乇 賲賵乇丿 "丕乇爻胤賵" 賳蹖爻鬲 亘賱讴賴 丿乇 賲賵乇丿 賮賳 卮毓乇 蹖丕 亘賵胤蹖賯丕 爻鬲 讴賴 鬲賵蹖 趩丕倬鈥屬囏й� 噩丿蹖丿 讴鬲丕亘 乇賵蹖 噩賱丿 賵 鬲賵囟蹖丨丕鬲 卮賳丕爻賳丕賲賴鈥屫й� 讴鬲丕亘 賯蹖丿 賳卮丿賴 讴賴 讴鬲丕亘 賮賯胤 丿乇 賲賵乇丿 亘賵胤蹖賯丕 爻鬲.
禺賵丿賲 丕賵賱卮 賮讴乇 讴乇丿賲 蹖賴 賲賯丿賲賴 亘賴 丕乇爻胤賵 爻鬲 禺乇蹖丿賲 讴鬲丕亘 乇賵 讴賴 禺亘貙 丕卮鬲亘丕賴 賲蹖鈥屭┴必�.
丕賱亘鬲賴 丕蹖賳 丕卮鬲亘丕賴 爻亘亘 禺蹖乇 卮丿 趩賵賳 丕禺蹖乇丕 亘賵胤蹖賯丕 乇賵 禺賵賳丿賲 賵 讴賲讴 鬲賯乇蹖亘丕 禺賵亘蹖 亘賵丿 丕蹖賳 讴鬲丕亘.
May 5, 2018
Letto analiticamente, prendendo fitti appunti, nell'estate del 2004 (vaghi ricordi di una terrazza non lontana dal mare e altri ricordi che non voglio ricordare), poi riletto continuamente.
Ne derivano sempre suggerimenti e curiosit脿.
Come tutti voi sapete, la poesia [oggi leggi: letteratura] 猫 pi霉 filosofica della storia.
Perch茅 la storia tratta del vero, la poesia del verosimile. E quindi la poesia si occupa dell鈥檜niversale, mentre la storia racconta i particolari. Appartiene all鈥檜niversale il fatto che qualcuno, un personaggio, dica o faccia certe cose secondo verosimiglianza o necessit脿, e a questo mira la poesia, aggiungendo successivamente i nomi; appartiene invece al particolare dire cosa ha fatto o cosa 猫 capitato ad Alcibiade.
Appunto, siamo lettori, lo sappiamo tutti, anche senza averlo letto in Aristotele.
L'opera del poeta non 猫 registrazione di tutto quanto, ma 猫 selezione, riadattamento degli eventi, dosaggio sapiente di che cosa scartare e che cosa includere, continuo pensiero di come connettere e come riequilibrare le parti in modo da reinventare il mondo in un ordine pieno di significato.
E l'universale cui mira il poeta pu貌 naturalmente essere qualcosa di molto diverso da ci貌 che poteva avere in mente l'antico filosofo.
Per貌 猫 sempre stupefacente quando il ragionamento di Aristotele diventa vertiginoso: come quando arriva a dire che, alla fin fine, non 猫 sempre obbligatorio che lo scrittore inventi con verosimiglianza dei fatti fittizi, pu貌 persino rappresentare fatti realmente avvenuti, basta che siano verosimili: 芦niente impedisce infatti che tra i fatti avvenuti ce ne siano alcuni che 猫 verosimile avvengano禄
E, secondo tale verosimiglianza, 猫 il poeta il creatore di questi fatti realmente avvenuti.
Ne derivano sempre suggerimenti e curiosit脿.
Come tutti voi sapete, la poesia [oggi leggi: letteratura] 猫 pi霉 filosofica della storia.
Perch茅 la storia tratta del vero, la poesia del verosimile. E quindi la poesia si occupa dell鈥檜niversale, mentre la storia racconta i particolari. Appartiene all鈥檜niversale il fatto che qualcuno, un personaggio, dica o faccia certe cose secondo verosimiglianza o necessit脿, e a questo mira la poesia, aggiungendo successivamente i nomi; appartiene invece al particolare dire cosa ha fatto o cosa 猫 capitato ad Alcibiade.
Appunto, siamo lettori, lo sappiamo tutti, anche senza averlo letto in Aristotele.
L'opera del poeta non 猫 registrazione di tutto quanto, ma 猫 selezione, riadattamento degli eventi, dosaggio sapiente di che cosa scartare e che cosa includere, continuo pensiero di come connettere e come riequilibrare le parti in modo da reinventare il mondo in un ordine pieno di significato.
E l'universale cui mira il poeta pu貌 naturalmente essere qualcosa di molto diverso da ci貌 che poteva avere in mente l'antico filosofo.
Per貌 猫 sempre stupefacente quando il ragionamento di Aristotele diventa vertiginoso: come quando arriva a dire che, alla fin fine, non 猫 sempre obbligatorio che lo scrittore inventi con verosimiglianza dei fatti fittizi, pu貌 persino rappresentare fatti realmente avvenuti, basta che siano verosimili: 芦niente impedisce infatti che tra i fatti avvenuti ce ne siano alcuni che 猫 verosimile avvengano禄
E, secondo tale verosimiglianza, 猫 il poeta il creatore di questi fatti realmente avvenuti.
February 15, 2016
Introduction
Note on the Texts and Translations
Select Bibliography
A Chronology of Aristotle
Outline of the 'Poetics'
--From Plato, Republic, Books 2, 3, and 10
--Aristotle, Poetics
--From Sir Philip Sidney, An Apology for Poetry
--From P. B. Shelley, A Defence of Poetry
--From D. L. Sayers, 'Aristotle on Detective Fiction'
A Note on Metre
Explanatory Notes
Glossary of Key Terms
Index
Note on the Texts and Translations
Select Bibliography
A Chronology of Aristotle
Outline of the 'Poetics'
--From Plato, Republic, Books 2, 3, and 10
--Aristotle, Poetics
--From Sir Philip Sidney, An Apology for Poetry
--From P. B. Shelley, A Defence of Poetry
--From D. L. Sayers, 'Aristotle on Detective Fiction'
A Note on Metre
Explanatory Notes
Glossary of Key Terms
Index
October 29, 2017
鬲賳賴丕 趩蹖夭蹖 讴賴 亘賴卮 賮讴乇 賲蹖鈥屭┵嗁� 丕蹖賳賴 讴賴 丕乇爻胤賵 2 賴夭丕乇 賵 倬賵賳氐丿 爻丕賱 倬蹖卮 亘賴 趩賴 诏賮鬲賲丕賳鈥屬囏й屰� 乇爻蹖丿賴 亘賵丿賴... 賵丕賯毓丕賸 噩丕賱亘賴!
September 6, 2019
Here is a rudimentary tablet of knowledge by one of the greats. First off, it is somewhat incredible to concede the year that this was written, and that almost 2,400 years later we are still eager to explore poetics that are in this aged article so clearly defined.
Aristotle exalts the poet and holds him in the highest esteem. Similarly, I have come to the conclusion that the novelist of literature is the truest of artists, imitating what he sees and 鈥榩ainting鈥� things as how they are, telling it as other people tell it and so is said to be, or constructing a world in its most ideal, illustrious state. This is but one of the many core concepts Aristotle pries open. Yes, as readers we have been conscious of the literary elements and the mixture of these comprise contemporary fiction, certainly, but here is a very significant work for the writer and not just the poet.
Always pitting the Epic poem versus the Tragedy, Aristotle maintains that although a Tragedy has all the same elements as an Epic the Epic poem does not always include elements of Tragedy. Here is the contemporary distinction between epic novels (Gone with the Wind, The Thorn Birds) and tragic family dramas (see: Eugene O鈥橬eill, Arthur Miller). But the spirit of drama must flow through both, though the parameters & scales differ.
Indeed some of the dogmas have been explained over and over the years by countless English teachers. So it was a relief to find some of the writer鈥檚 personal touches in this informative essay, such as his constant distinction between philosophers and mere men, his fanboy affinity to Homer, his fondness for markedly-clear beginnings & endings, how Epic poetry is the 鈥渉ighest鈥� art form (one would imagine that in the modern world Aristotle would have preferred 鈥楾itanic鈥� over 鈥楢merican Beauty鈥�), and that poetry 鈥渋s a more philosophical and a higher thing than history.鈥� (Seemingly rudimentary, this is a must for novelists, even though Epic poems and stage Tragedies are long gone. Sadly the later chapters in Aristotle鈥檚 鈥淧oetics鈥� are like trips to elementary school English (letters 脿words 脿sentences). That something from 350 BC is still employed in something so vast and, sometimes if we are lucky, so avant garde as literature is both frightening and encouraging.
Aristotle exalts the poet and holds him in the highest esteem. Similarly, I have come to the conclusion that the novelist of literature is the truest of artists, imitating what he sees and 鈥榩ainting鈥� things as how they are, telling it as other people tell it and so is said to be, or constructing a world in its most ideal, illustrious state. This is but one of the many core concepts Aristotle pries open. Yes, as readers we have been conscious of the literary elements and the mixture of these comprise contemporary fiction, certainly, but here is a very significant work for the writer and not just the poet.
Always pitting the Epic poem versus the Tragedy, Aristotle maintains that although a Tragedy has all the same elements as an Epic the Epic poem does not always include elements of Tragedy. Here is the contemporary distinction between epic novels (Gone with the Wind, The Thorn Birds) and tragic family dramas (see: Eugene O鈥橬eill, Arthur Miller). But the spirit of drama must flow through both, though the parameters & scales differ.
Indeed some of the dogmas have been explained over and over the years by countless English teachers. So it was a relief to find some of the writer鈥檚 personal touches in this informative essay, such as his constant distinction between philosophers and mere men, his fanboy affinity to Homer, his fondness for markedly-clear beginnings & endings, how Epic poetry is the 鈥渉ighest鈥� art form (one would imagine that in the modern world Aristotle would have preferred 鈥楾itanic鈥� over 鈥楢merican Beauty鈥�), and that poetry 鈥渋s a more philosophical and a higher thing than history.鈥� (Seemingly rudimentary, this is a must for novelists, even though Epic poems and stage Tragedies are long gone. Sadly the later chapters in Aristotle鈥檚 鈥淧oetics鈥� are like trips to elementary school English (letters 脿words 脿sentences). That something from 350 BC is still employed in something so vast and, sometimes if we are lucky, so avant garde as literature is both frightening and encouraging.
April 17, 2022
One of those books which I just flew through because it's thought provoking and refreshing.
Nonfiction nonetheless and not a book for everyone, I would suggest this small book on literary criticism for those who love reading poetry and, most importantly, plays. As the author focused much on the core concept of a poem/play in terms of comedy, tragedy and so forth, I say this book would come handy for those who wants to understand how to write and construct a poem or a play.
Very easy language and very short chapters, a much delightful different read.
Nonfiction nonetheless and not a book for everyone, I would suggest this small book on literary criticism for those who love reading poetry and, most importantly, plays. As the author focused much on the core concept of a poem/play in terms of comedy, tragedy and so forth, I say this book would come handy for those who wants to understand how to write and construct a poem or a play.
Very easy language and very short chapters, a much delightful different read.
August 27, 2020
La Po茅tica de Aristoteles sigue siendo a mi entender el primer ensayo literario de la historia y es gracias a ella y al profundo an谩lisis que el estagitria griego hace de la 茅pica, la tragedia y la epopeya que conocemos la literatura moderna y de la cual se desprende toda concepci贸n de la literatura hoy en d铆a.
December 2, 2022
read this for school! and i鈥檓 not smart enough to understand any of this!!
December 16, 2018
It is truly astounding, humbling, and semi-surreal to think that after so many years, the continuously strolling and pondering Greek philosopher, Aristotle, is vital and relevant, hundreds of thousands of days after his passing.
To any who claim social progress and technology has changed the world, well I am not so sure.
It appears, time and again, all who we were, are, and will continue to be, is exponentially less significant than we may think.
And it is a wonderful book for playwrights and poets and writers to learn from, even today.
Startling. Instructive. Banal.
Human (even Aristotle).
To any who claim social progress and technology has changed the world, well I am not so sure.
It appears, time and again, all who we were, are, and will continue to be, is exponentially less significant than we may think.
And it is a wonderful book for playwrights and poets and writers to learn from, even today.
Startling. Instructive. Banal.
Human (even Aristotle).
March 15, 2025
can鈥檛 wait to meet aristotle in hell just so i can fight him
September 3, 2021
not the most engaging read, but interesting to see where half the terms from my degree actually came from!!
June 2, 2023
As铆 es. De aqu铆 sale la tan mencionada estructura aristot茅lica (la base de la narrativa y la dramaturgia). Lo que hoy nos parecer铆a una obviedad, para el tiempo en el que Arist贸teles lo descubre (porque s铆, en aquellos a帽os, m谩s de 300 a.C., las cosas se descubr铆an) era una novedad. Arist贸teles analiza el origen de la estructura de la narraci贸n, desde el arte po茅tico, que en ese tiempo se trataba de la epopeya (la 茅pica), la comedia y la tragedia, y descubre el sistema a trav茅s del cual se ordena este arte, que seg煤n Arist贸teles, es el arte de la imitaci贸n. Pero de la imitaci贸n de la realidad que busca ir m谩s all谩 de la realidad, es decir, mejorarla y dotarle de una coherencia que normalmente no tiene. Y esto es lo que m谩s me ha llamado la atenci贸n de La po茅tica; Arist贸teles afirma que la realidad suele tener hechos que no se corresponden unos con otros, por lo que carecen en s铆 mismos de verosimilitud, y que la poes铆a (y el poeta) en el caso de la 茅pica, o el dramaturgo, en el caso de la tragedia y la comedia, son los encargados de dotarle de esa verosimilitud a los hechos narrados.
En ese tiempo no exist铆a el concepto de la ficci贸n como tal, ni siquiera de la literatura, pero Arist贸teles ya los establece al marcar la idea de que la imitaci贸n y el suceso de los hechos narrados deben ser creados de tal manera que suenen coherentes y veros铆miles aunque no se correspondan con la realidad. As铆, tambi茅n determina al estilo y al artificio po茅tico y ling眉铆stico como uno de los elementos que ayudan a dotar de coherencia a la ficci贸n/imitaci贸n. Todo lo que hoy a煤n seguimos discutiendo sobre el texto literario (que si pesa m谩s el fondo o la forma, que si el estilo prima sobre la historia, que si no hay trabajo del lenguaje no es literatura, etc.) Arist贸teles ya lo dej贸 sentado tres siglos antes de Cristo: hasta lo m谩s disparatado e inveros铆mil puede tornarse veros铆mil si hay arte en el poeta, la pluma del escritor lo puede todo, es decir, el artificio. Sin embargo, tambi茅n establece que sin acci贸n no hay tragedia y que finalmente todo retrato es un retrato de la acci贸n. As铆, cita como mayor exponente de este nivel de perfecci贸n narrativa a Homero, con lo que todo el an谩lisis que hace de la po茅tica ser铆a una especie de advenimiento de la ficci贸n narrativa y, con ello, de la novela (no de la prosa en s铆 como estructura del lenguaje, ya que la epopeya es poes铆a con reglas estrictas, pero s铆 de lo que subyace al esquema po茅tico). Incluso discute a la cr铆tica generalizada de que la tragedia (griega) era un arte menor; Arist贸teles se帽ala que puede ser tan trascendente como la epopeya.
Cabe aclarar que para una mejor comprensi贸n de este texto es preferible tener alg煤n conocimiento o haber le铆do algo de S贸focles, Eur铆pides y Homero, pues aunque cita a otros autores, la mayor铆a de ejemplos que da son de estos tres. Respecto a los tres famosos actos del drama -que en realidad no los nombra como actos- estos son literalmente: el principio, el enlace y el desenlace. De ah铆 sale todo lo que conocemos hoy en d铆a como estructura narrativa, pues toda intenci贸n rupturista o vanguardista ha tenido siempre la intenci贸n de trastocar esa esta estructura, pero siempre nace de ella. Arist贸teles incluso va m谩s all谩 y sienta algunos conceptos, entre ellos lo que yo interpretar铆a como elipsis: aquello que en la narraci贸n no se cuenta, pero se supone que ha ocurrido fuera de ella.
Acerca de los personajes sobre los que acaece la tragedia, seg煤n Arist贸teles no deben ser ni demasiado virtuosos que caigan en mala fortuna -pues eso en vez de l谩stima causar铆a indignaci贸n- ni demasiado perversos que tienen buena fortuna, porque seg煤n 茅l, no cumplir铆a con los requisitos de la tragedia: que sea humano, lastimoso o terrible. El protagonista perfecto ser铆a aquel que no es aventajado en virtud ni malicia sino que cae en desgracia por un yerro disculpable. Tambi茅n establece la anagn贸risis (el reconocimiento entre s铆 de los personajes) como base de la tragedia (por ejemplo, Edipo reconociendo que se cas贸 con su madre y mat贸 a su padre).
Por otro lado, hace varias relaciones seg煤n la l贸gica de la narrativa po茅tica de la 茅poca, como que la tragedia no puede basarse en que un enemigo a mate o da帽e a otro enemigo, pues aquello no causa l谩stima, ni que un neutral da帽e a un similar, sino que la tragedia surge cuando las atrocidades se cometen entre personas amigas (familiares, por ejemplo) de forma consciente o inconsciente, aunque seg煤n Arist贸teles, es mejor que el da帽o sea hecho, porque si la persona es consciente del da帽o antes de hacerlo y se frena, entonces ya ser铆a una acci贸n m谩s perversa y menos tr谩gica, ya que nadie padecer铆a (esto para fines dram谩ticos).
Tambi茅n es interesante el que establezca que el arte de la imitaci贸n (la po茅tica) no es lo que es, sino lo que debe ser. Es decir, la ficci贸n es una realidad mejorada y coherente. Sobre la representaci贸n (teatral), a la que nombra como "perspectiva", se帽ala que es una de las partes de la tragedia, las otras son la melod铆a y la dicci贸n. Respecto a la acci贸n, que se estructura en el orden de los sucesos, la llama "f谩bula". La f谩bula es "un remedio de la acci贸n". Este es quiz谩s otro concepto an谩logo a la ficci贸n.
Sobre la comedia (griega) dice que es un retrato de los peores, pero no por sus vicios, sino por algo vergonzoso que sea risible. Concluye que seg煤n esta l贸gica, en el arte de la imitaci贸n hay que imitar a los mejores (茅pica) o a los peores (comedia), aunque tambi茅n los hay que imitan a los iguales. No obstante, considera que en esta imitaci贸n debe haber la voluntad de embellecimiento, a煤n, parad贸jicamente, en la vileza de un personaje.
En resumen, lo principal: la f谩bula, que es el retrato de la acci贸n (pero no es la acci贸n como tal); dentro de la f谩bula, las peripecias (cambio de la acci贸n por imprevistos) y la anagn贸risis (reconocimiento entre personajes). Luego, las costumbres que determinan el car谩cter de los personajes. Y por 煤ltimo, el dictamen, que para Arist贸teles es "la expresi贸n del pensamiento por medio de las palabras", lo cual se podr铆a entender respecto a los di谩logos o mon贸logos interiores. Y por 煤ltimo, la melod铆a, que ser铆a respecto al ritmo y la cadencia de las palabras. Sobre la perspectiva (en la tragedia) que vendr铆a a ser la puesta en escena, refiere que es menos propia de la po茅tica y "m谩s bien arte del maquinista, que no de los poetas". Poeta enti茅ndase como escritor. Y es que el teatro griego estaba lleno de m谩quinas que mov铆an escenograf铆a y personajes, no en vano el c茅lebre "Deus ex machina" (dios baja de la m谩quina), que si bien no lo nombra como tal en este tratado, s铆 habla indirectamente de aquello, ya que dice que es justificable que las deidades intervengan en la tragedia, aunque s铆 cr铆tica la gratuidad para resolver la trama. Para Arist贸teles, todo ya debe estar resuelto por la coherencia y verosimilitud del texto (gracias al genio del poeta) y menos por el artificio de la representaci贸n.
En ese tiempo no exist铆a el concepto de la ficci贸n como tal, ni siquiera de la literatura, pero Arist贸teles ya los establece al marcar la idea de que la imitaci贸n y el suceso de los hechos narrados deben ser creados de tal manera que suenen coherentes y veros铆miles aunque no se correspondan con la realidad. As铆, tambi茅n determina al estilo y al artificio po茅tico y ling眉铆stico como uno de los elementos que ayudan a dotar de coherencia a la ficci贸n/imitaci贸n. Todo lo que hoy a煤n seguimos discutiendo sobre el texto literario (que si pesa m谩s el fondo o la forma, que si el estilo prima sobre la historia, que si no hay trabajo del lenguaje no es literatura, etc.) Arist贸teles ya lo dej贸 sentado tres siglos antes de Cristo: hasta lo m谩s disparatado e inveros铆mil puede tornarse veros铆mil si hay arte en el poeta, la pluma del escritor lo puede todo, es decir, el artificio. Sin embargo, tambi茅n establece que sin acci贸n no hay tragedia y que finalmente todo retrato es un retrato de la acci贸n. As铆, cita como mayor exponente de este nivel de perfecci贸n narrativa a Homero, con lo que todo el an谩lisis que hace de la po茅tica ser铆a una especie de advenimiento de la ficci贸n narrativa y, con ello, de la novela (no de la prosa en s铆 como estructura del lenguaje, ya que la epopeya es poes铆a con reglas estrictas, pero s铆 de lo que subyace al esquema po茅tico). Incluso discute a la cr铆tica generalizada de que la tragedia (griega) era un arte menor; Arist贸teles se帽ala que puede ser tan trascendente como la epopeya.
Cabe aclarar que para una mejor comprensi贸n de este texto es preferible tener alg煤n conocimiento o haber le铆do algo de S贸focles, Eur铆pides y Homero, pues aunque cita a otros autores, la mayor铆a de ejemplos que da son de estos tres. Respecto a los tres famosos actos del drama -que en realidad no los nombra como actos- estos son literalmente: el principio, el enlace y el desenlace. De ah铆 sale todo lo que conocemos hoy en d铆a como estructura narrativa, pues toda intenci贸n rupturista o vanguardista ha tenido siempre la intenci贸n de trastocar esa esta estructura, pero siempre nace de ella. Arist贸teles incluso va m谩s all谩 y sienta algunos conceptos, entre ellos lo que yo interpretar铆a como elipsis: aquello que en la narraci贸n no se cuenta, pero se supone que ha ocurrido fuera de ella.
Acerca de los personajes sobre los que acaece la tragedia, seg煤n Arist贸teles no deben ser ni demasiado virtuosos que caigan en mala fortuna -pues eso en vez de l谩stima causar铆a indignaci贸n- ni demasiado perversos que tienen buena fortuna, porque seg煤n 茅l, no cumplir铆a con los requisitos de la tragedia: que sea humano, lastimoso o terrible. El protagonista perfecto ser铆a aquel que no es aventajado en virtud ni malicia sino que cae en desgracia por un yerro disculpable. Tambi茅n establece la anagn贸risis (el reconocimiento entre s铆 de los personajes) como base de la tragedia (por ejemplo, Edipo reconociendo que se cas贸 con su madre y mat贸 a su padre).
Por otro lado, hace varias relaciones seg煤n la l贸gica de la narrativa po茅tica de la 茅poca, como que la tragedia no puede basarse en que un enemigo a mate o da帽e a otro enemigo, pues aquello no causa l谩stima, ni que un neutral da帽e a un similar, sino que la tragedia surge cuando las atrocidades se cometen entre personas amigas (familiares, por ejemplo) de forma consciente o inconsciente, aunque seg煤n Arist贸teles, es mejor que el da帽o sea hecho, porque si la persona es consciente del da帽o antes de hacerlo y se frena, entonces ya ser铆a una acci贸n m谩s perversa y menos tr谩gica, ya que nadie padecer铆a (esto para fines dram谩ticos).
Tambi茅n es interesante el que establezca que el arte de la imitaci贸n (la po茅tica) no es lo que es, sino lo que debe ser. Es decir, la ficci贸n es una realidad mejorada y coherente. Sobre la representaci贸n (teatral), a la que nombra como "perspectiva", se帽ala que es una de las partes de la tragedia, las otras son la melod铆a y la dicci贸n. Respecto a la acci贸n, que se estructura en el orden de los sucesos, la llama "f谩bula". La f谩bula es "un remedio de la acci贸n". Este es quiz谩s otro concepto an谩logo a la ficci贸n.
Sobre la comedia (griega) dice que es un retrato de los peores, pero no por sus vicios, sino por algo vergonzoso que sea risible. Concluye que seg煤n esta l贸gica, en el arte de la imitaci贸n hay que imitar a los mejores (茅pica) o a los peores (comedia), aunque tambi茅n los hay que imitan a los iguales. No obstante, considera que en esta imitaci贸n debe haber la voluntad de embellecimiento, a煤n, parad贸jicamente, en la vileza de un personaje.
En resumen, lo principal: la f谩bula, que es el retrato de la acci贸n (pero no es la acci贸n como tal); dentro de la f谩bula, las peripecias (cambio de la acci贸n por imprevistos) y la anagn贸risis (reconocimiento entre personajes). Luego, las costumbres que determinan el car谩cter de los personajes. Y por 煤ltimo, el dictamen, que para Arist贸teles es "la expresi贸n del pensamiento por medio de las palabras", lo cual se podr铆a entender respecto a los di谩logos o mon贸logos interiores. Y por 煤ltimo, la melod铆a, que ser铆a respecto al ritmo y la cadencia de las palabras. Sobre la perspectiva (en la tragedia) que vendr铆a a ser la puesta en escena, refiere que es menos propia de la po茅tica y "m谩s bien arte del maquinista, que no de los poetas". Poeta enti茅ndase como escritor. Y es que el teatro griego estaba lleno de m谩quinas que mov铆an escenograf铆a y personajes, no en vano el c茅lebre "Deus ex machina" (dios baja de la m谩quina), que si bien no lo nombra como tal en este tratado, s铆 habla indirectamente de aquello, ya que dice que es justificable que las deidades intervengan en la tragedia, aunque s铆 cr铆tica la gratuidad para resolver la trama. Para Arist贸teles, todo ya debe estar resuelto por la coherencia y verosimilitud del texto (gracias al genio del poeta) y menos por el artificio de la representaci贸n.
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