Classics

Aristotle’s Poetics by Aristotle

By Aristotle

This article combines an entire translation of Aristotle's "poetics" with a working statement, published on dealing with pages, to maintain the reader in non-stop touch with the linguistic and important subtleties of the unique whereas highlighting an important concerns for college students of literature and literary concept. the quantity comprises essays by way of George Whalley that define his process and objective. He identifies a deep congruence among Aristotle's knowing of mimesis and Samuel Taylor Coleridge's view of mind's eye.

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6] This word, the plural of mimesis, is transliterated to avoid using the word 'imitations'. Mimesis is in its form a processive word — a point of great importance for much of what follows. A useful habit is to read mimesis as "a process - mimesis". "The mimetic process is the activity of poietike" (Else); its dynamis (potentiality) works towards a telos (end) which is, in both a substantial and active sense, a poiema (poem). Aristotle does not define either 'the poietic art' or mimesis; he leaves both open for exploration and for progressive self-definition in the body of the discussion.

Plato's metaphor of the divided line separating visible from intelligible entities (Book VI of Republic) was very influential in later neo-platonic accounts of poetry. See Wesley Trimpi, Muses of One Mind (Princeton: Princeton University Press, 1983), 201-22. Jonathan Lear, "Katharsis," in Rorty, 333-4. Other essays in Rorty that appeal to "imagination" at important moments in the discussion include Dorothea Frede, "Necessity, Chance, and 'What Happens for the Most Part' in Aristotle's Poetics," 210-11; Halliwell, "Pleasure, Understanding, and Emotion in Aristotle's Poetics," 242, 250, 253-4; and Alexander Nehamas, "Pity and Fear in the Rhetoric George Whalley on the Poetics 29 30 31 32 33 34 35 36 37 38 39 40 41 xxxv and the Poetics," 302-3.

Let us go on, straight through the next long paragraph which happens to include two allegedly spurious insertions, one certainly spurious word, and a passage that I treat as a discursive note or afterthought of Aristotle's. [Differentiation by Matter] You know how some people make likenesses of all kinds of things by turning them into colours and shapes - some imaginatively and some [merely] by formula [9] — and how other people do their mimesis with the voice [10]: well, in the same way, the arts we are thinking of all do their mimesis with rhythm, speech, and melody [i i], but using speech and melody either separately or mixed together.

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