Aristotles Poetics



Aristotles Poetics

Kibler, English 274

Written during a highly unpoetic age, when poesy condemned by philosophy—Arry revives reputation of poetry by marrying it to philosophy, and calling it graver and wiser than history. “Poetry is something more philosophic and grave than history, since its statements are of the nature of universals (what might be, as opposed to what is or was). It explores the possible, based on the type.

All forms

Epic, tragedy, comedy, music, dance, et cetera:

All rely on various combinations of rhythm, language, harmony.

Music: harmony and rhythm

Dance: rhythm

Philosophy and argument: language

Drama: all elements combines.

Key Terms:

Tragedy: is an imitation of personages better than the ordinary man, and we should in our way follow the example of the good portrait painters, who reproduce the distinctive features of a man and at the same time, without losing the likeness, make him handsomer than he is. (243)

Tragedy has dignity or magnitude, and treats serious subjects. It is an imitation of action and life, of the movement from happiness to misery or vice versa. It is the result of ACTION, because it is action that determines the end. Resulted from dythryambic poetry—serious, religious. Includes a plurality of episodes, but really, only one big idea. Governed by idea more than by character. Character always second to idea.

Part of the dignity of tragedy comes from using as its heros the middle kind of good people. That is, we do not consider it tragic if a bad man finds happiness, or a good man finds sadness—but a man not especially virtuous, whom misfortune is brought upon him not by vice but by some error (hamartia)….

Takes place within a single circuit of the sun.

Comedy: imitation of mean worse than average—the ridiculous, like a mask that incites laughter—ugly, distorted, without causing pain. Originated in phallic song.

Epic: like tragedy, but longer, with differing meter appropriate to length/.

Organic Unity

Plotting to have a beginning a middle and an end. Beginning moves according to one action or idea, explicated in its many aspects or parts, until a turn (peripety or complication) occurs. That turn signals the middle of the plot, and everything after it is called denouement to the end.

Also, magnitude or proportion must be kept—the longer the story, the more refined must be its sense of proportion—rought rule of thumb—a story made of those necessary actions a hero must encounter through a series of necessary and probable stages in his move from misfortune to happiness, or from happiness to misfortune.

Tragic Suffering

Suffering is necessary for Tragedy. Tragic plots move between the poles of a mans good and bad fortune, and so tragic poetry does not so much contribute to a man’s happiness as purge him or emotions.

Katharsis

Philosophy condemned poetry for playing with the emotions, whereas philosophy felt the emotions should always remain unstirred. Arry saves poetry by suggesting that stirring the emotions, such as in tragedy, results in a cleansing or katharsis that leaves the audience member not only more contemplative and emotion free, but also stronger of soul, because able to better master emotions. Effect of suffering upon audience.

Hamartia. The flaw—a hero’s misfortune results from this flaw. It could be an error in judgement. Milder than a sin or injustice, but more character driven—Ignorance, emotion. Often linked to a metaphysical understanding of human condition as sadly fated—i.e., all choices are bad ones.

Recognition

The discovery of a bad situation.

Pathos: emotion.

Denouement: unwinding of plot from middle, after peripety.

Peripety or complication: the turn.

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